Risico: A Bond 17 Screenplay
by althechi
Summary: A treatment of what would have been Timothy Dalton's third Bond film, where Bond must battle a maniacal mastermind, his criminal syndicate, the Unabomber and a cyborg ninja to prevent the explosive destruction of the chemical industry as we know it.


**GUNBARREL. FADE IN:**

EXT. DREAM PINES MOTOR HOTEL - NIGHT

It is raining. The 'VACANCY' sign flickers weakly above the motel, a large structure, however hidden by the shadows of the trees surrounding it. A light illuminates the words 'DREAM PINES'. Two men, one tall, and one short are at the door. The tall man rings the doorbell.

INT. DREAM PINES MOTOR HOTEL - NIGHT

The interior is a spartan design, with a reception desk facing the door. The desk is surrounded by doors to the left and right. Some couches lead to the door. Vivian Mitchell, dressed in little but a robe, rises from the reception desk, torn from reading a motorbike magazine.

She takes a set of keys from a wooden rack behind her and proceeds to unlock the heavy metal door. The two men are silhouetted by the darkness. Lightning flashes. They are revealed to be none other than Buren and Derringer.

Buren is a giant fellow, at around 6' 5". Derringer is significantly shorter man, who wears an ugly expression. Both wear overcoats and hats, which they proceed to remove, revealing suits and ties.

VIVIAN

(tiredly)

Who are you two gents? One room or tw-

DERRINGER

(accusingly)

Name's Derringer. Look here, Miss. Our boss has noted you have a nasty habit. Of reading through his files. He doesn't like that. And that information...is very sensitive. Everyone who's read it is either his own men or...

Derringer pulls out a monster of a gun, a Colt Python that fires Magnum rounds. Vivian stares at him and the gun in abject fear. Derringer nods backward at Buren.

DERRINGER

(an order)

Buren! Lean on the bimbo!

The giant that is Buren gives Vivian a mighty shove on her shoulder and she falls backwards. As she lands, she experiences an instant wardrobe malfunction, and her robe slips. She desperately attempts to rectify this, but her antics have attracted Derringer's attention.

DERRINGER

(coyly)

Well, well, look what we have here, Buren! Didn't know they made Canadians like these any more!

(to Vivian)

This is a bit...out of protocol, but I'm sure we can make some - allowances.

(lowers gun at her)

Whaddya say you prepare a room? One king-size bed ought to -

BUREN

(interrupting)

We've got no time, Derringer. Shoot her and let's go.

DERRINGER

(angrily)

We've got plenty of time, Buren! We're in the middle of the Great Frozen Nowhere! This place is days away from any other motel. A couple of hours won't do anything to our schedule!

The two start arguing, while Vivian tries to hide in a corner. The gun swings back towards her, and she freezes. Suddenly, the door starts creaking, and everyone turns towards it. Derringer pockets the gun. Vivian runs behind the desk, and peers above it toward the door. It swings open, revealing James Bond.

BOND

Evening. Could I get a single room...what's happened here?

DERRINGER

(defensively)

Nothing.

Bond looks around. Some chairs have been overturned, the keys are strewn all over the floor, and Vivian is noticeably shivering.

BOND

Rather noisy 'nothing'. As I've said, I'd like a single room. In Lodge 6, preferably.

He brushes past Derringer and Buren as he approaches the counter, where he dumps his briefcase upon. Buren nods towards Bond, unseen to him. Derringer nods up and down, in approval of his comrade's silent signal. Vivian hurriedly takes out the register and a fountain pen.

VIVIAN

(shakily)

Uh...I'll give you room 9, in Lodge 6 - as you said – Mr…?

BOND

Bond. James Bond.

Vivian looks up. She appears to recognise Bond, and then quickly scribbles in the record. Derringer speaks up.

DERRINGER

A Brit? What is this, the U-N?

BOND

(to Derringer)

Well, actually, I'm on Her Majesty's Servi-

DERRINGER

(annoyed)

Shut up. Get to your Lodge 9 Room 6 whatever. We've got unfinished business with your woman.

Bond lifts his suitcase off the counter and follows Vivian to Lodge VI Room 9. Once at the door, Vivian changes her demeanour from fear to anger. She turns towards Bond.

INT. DREAM PINES CORRIDOR – NIGHT

VIVIAN

(angrily)

You were supposed to be here two hours ago! Now I've got these gorillas of men threatening us both with guns!

BOND

I got tied up in the missile business down South. The Federal Authorities thought it in their best interest to detain me for a couple of hours. I could only leave at 4.

(turns to reception)

How many guns have they got between them?

VIVIAN

(thinking)

The short one had a pistol. The tall man wasn't armed, or he didn't draw his weapon.

BOND

I've dealt with giants before. (beat) What kind of pistol was the short one using?

VIVIAN

A revolver. Six-shooter.

Bond takes out his main gun, a Walther P88, and pulls back the slide, cocking the handgun, and also checks that he has a bullet in the chamber. He passes a Colt Python to Vivian, checking it similarly.

BOND

Then I've got nine more bullets than him. Stay in the room. Use the gun if anything happens. I'll deal with this.

Bond walks down the corridor, leaving Vivian next to the door. She stares after him, and enters Room 9, wielding the Colt Python.

INT. DREAM PINES MOTOR HOTEL - NIGHT

BOND walks in. Both his hands are in the pockets of his jacket. Buren and Derringer get up from the sofas they were sitting on. Derringer puts down his magazine.

DERRINGER

All right, Brit. Where's the bimbo?

BOND

(calmly)

She passed out. I left her in the room.

Faster than the eye can see, the revolver appears in Derringer's hand, pointed straight at Bond.

DERRINGER

Don't try anything funny. Where's the woman? Answer me or you're dead.

BOND

Where she took me. "Room 6 Lodge 9 whatever", remember?

DERRINGER

Think you're pretty funny, huh? My memory isn't that bad.

(nods backward to Buren)

Buren! Deal with the Vivian woman. Room 9 Lodge 6.

Bond takes the opportunity to draw his P88. Before he can fire it, though, Derringer's gun fires, and the P88 flies behind the counter. Bond follows it, bullets trailing after him. He reaches the back of the counter, and searches for his gun.

DERRINGER

Pretty good shooting, huh? You don't think Derringer was my _real_ name, right? Heh heh heh heh.

Bond finally finds his P88. He gets up and fires thrice. Derringer dodges and shoots the key rack behind Bond. It falls and hits him on the back with a noticeable "thwack". Derringer starts laughing, then notices the rack flying towards him. He shoots the small wooden block, and it flies off.

DERRINGER

You'll have to do better, Brit! Heh heh heh.

Bond rips out one of the legs of the reception desk, and charges Derringer. Derringer is too surprised to accurately shoot, and the bullet goes wild. The desk leg makes contact with his face.

Derringer stumbles backward in pain, covering his face. Bond gives him a punch in the gut, and uses his P88 to club him on the back of his head. He turns towards the door with his gun, to find it open and wet footsteps leading out.

INT. ROOM 9, LODGE 6 - NIGHT

The room is sparsely decorated, with a single bed parallel to the door, and a writing desk at the foot of said bed. There is a window opposite the door. Vivian sits on said bed, holding the gun. She faces the door, expecting the attack to come from there. The window slowly opens, unknown to her. A drenched Buren sneaks up on Vivian. She turns – an instant too late. Buren grabs hold of her and her wrist. The Colt Python falls to the ground.

Suddenly, there is a gunshot. Bond is seen entering the room through the window. Slowly, Buren turns, throwing Vivian at a wall, and removes his wet jacket, showing a bulletproof vest. He throws a punch as Bond. It connects, sending Bond sprawling. Buren is about to kick him when he slides between his feet and gets up. A furious fistfight ensues, where even the table lamp is destroyed. Buren then grabs Bond's neck and starts to choke him.

Another sudden gunshot occurs. Blood briefly spurts out of Buren's head, and Bond's neck is released. With a mighty 'thud', Buren collapses. Bond and Vivian prepare to leave, Vivian picking up some papers from the writing desk and placing them in Bond's suitcase. They exit the room, and head for a back door.

EXT. DREAM PINES MOTOR HOTEL/EXPRESSWAY - NIGHT

Bond and Vivian run out the back door, and head to the car park. They stop in front of Bond's car, which is revealed to be an Aston Martin DB5. They quickly get in. Bond starts the engine, and the car drives into the expressway.

BOND

So you've confirmed the notes?

VIVIAN

(turns towards him)

Yes. It appears that the chemical syndicate was fully aware of - (she turns abruptly)

BOND looks in his rear view mirror, then behind. Behind the DB5 is a black car, driven by an injured Derringer, apparently still conscious. He stares at his quarry before accelerating. The DB5 is struck.

VIVIAN

I thought you said you'd dealt with him!

BOND

How was I to know how thick his skull was?

(turns to road, then turns back to Vivian)

Hold on to something. I'm going to swerve - NOW!

On his word, the DB5 swerves to the right, and decelerates, bringing it parallel (to the right) with the black car. Derringer rams the black car into the DB5 again. It nearly falls off the road. Bond retaliates, this time grinding the black car against the side of the expressway.

As the road runs out of fence, the black car lifts up on two wheels. It strikes down on the Aston Martin, making it swerve till the point it faces backward. With a terrible yell, Derringer charges Bond. Bond accelerates.

Just before the collision, Bond turns just so slightly, diverting Derringer's vector - straight into Lake George. It sinks quickly, and the last we see of Derringer is his hand reaching up to the surface, then plunging back down.

BOND

Thank God that's over. I'll send a man to clear things up.

There is a brief silence. Bond looks grim. Vivian looks out the window, then at Bond.

VIVIAN

(shakily)

I think…I need some rest.

Shortly after that, the Aston Martin reaches another motel. The word VACANCY shows up in bright neon lights. Bond and Vivian both look at it.

BOND

(smiles)

Well, it can't be much worse than the service we got back there.

Vivian laughs. The Aston Martin slowly drives into the motel. The slowly dawning skyline slowly grows more red, and the mountains and trees become more abstract, until they form the

**CUT TO MAIN TITLES **

**FADE IN:**

EXT. CITY OF LONDON – DAY

We can see the Aston Martin DB5 outside a HMV store, probably on Oxford Street. JAMES BOND emerges from the store, holding a small packet. He enters the DB5 and drives off. Subsequently, the DB5 is seen driving through the streets of London, passing some landmarks such as Piccadilly Circus, Trafalgar Square and Parliament. It eventually comes to a halt at Century House.

INT. OUTSIDE M'S OFFICE – DAY

Bond passes an empty Moneypenny's desk. He looks around, then takes a Barry Manilow CD out of the packet and places it on the desk. The red light over M's office dies out. Bond enters.

INT. M'S OFFICE – DAY

Bond enters a darkened room, where a projector is projecting an image on screen. Some figures are seated around the projector on a table, watching the screen. M turns around, his face made visible by the light of the projector.

M

You're late, 007.

BOND

Sorry, sir. I had to collect something for the staff.

Bond sits down on the opposite side of the table from M. We now cut to the projector screen, where a newscaster is closest to a screen, the smoking ruin of a factory visible behind her. She is trying to maintain a calm demeanour. The bottom bar has the words "Buckenham Tofts Chemical Plant Disaster" on it.

NEWSCASTER

-worst chemical disaster in the United Kingdom to date, with 42 workers and civilians killed, and hundreds affected. Terrorists are suspected to have carried out the attack, according to the Secretary of State for Defence, Thomas Gerent.

The scene then changes to a press conference, with Gerent at the podium, addressing the press. The crowd starts to surge, and some armoured police forces try to hold them back. There is a lot of noise. Gerent raises his hand, and the crowd quietens down.

GERENT

Although this…disaster has claimed many lives, I am certain that those responsible will not be able to hide their cowardly ways for much longer…we will prevail, we will not be led into fear by these agents of terror. Our top security forces are on the job as I speak. They cannot hide. They will not.

At this, the frame freezes, and the projector turns off. The lights in the office returns, revealing Bond, M and Gerent. Gerent stands and turns to the other two.

GERENT

Well, that's the story I spun. New evidence has arrived implying that terrorists may not be to blame. Commander Bond?

Bond takes out a folder and passes it to both superiors. M takes it, and hesitates before opening it. Gerent sits at the table, taking the chair on Bond's right.

M

(before opening)

Who obtained this?

BOND

The information in that folder was obtained by Ms. Vivian Mitchell, Foreign Service – no. 1729 - and collected by me in the agreed meeting point. We however ran into opposition. The two thugs were called Derringer and Buren. As mentioned in my mission report, nothing connecting them to any known was found – excepting the file, of course. The contents of the file indicate -

M

-that somebody within the company was fully aware of the separate attacks on the chemical plants.

GERENT

The Morton Chemicals Company?

BOND

Yes. Two of the three attacks in the last six months were on their plants. Someone within the higher echelons of Morton Chemicals deliberately rescheduled security at the plant, letting an armed gang in. A bank statement also implies the mysterious disappearance of £10,000,000 from the company some years ago. The matter was never looked into.

M

(surprised)

Why the hell not?

GERENT

You will recall the Knightsbridge incident, back in the 80's. The £60 million was taken, and never found. We simply assumed that it was lost along with the rest.

The circumstances don't matter. In the light of Commander Bond's findings we can only conclude that someone within the company was - is paying the 'terrorists' – I now apply the term loosely – to destroy the plants.

M takes a drink of his Bourbon. He pours a glass for Bond and Gerent, and then takes his seat.

M

Then our course of action is clear. We will send an agent into Morton's organization, and he will root the traitor out. 007, due to your knowledge of the case, you'll infiltrate as a mercenary, in order to join his security crew. I'll introduce you to him tonight, at Blades. He frequents the place, mainly playing bridge.

BOND

What if he investigates my past?

M

We will fabricate a military background, including dishonourable discharge – (beat) – 3 years ago. That'll take a few hours to resolve. In the mean time, I would advise that you look into our files on Hugo Morton. At 2300 hours, report back in. You'll receive all the documents you require.

BOND

Yes, sir. I'll then go and get ready.

Bond gets up and leaves the office.

GERENT

Hugo Morton's an old friend of mine. To imagine that he'd get caught up in this sort of business…

M

We'll find the inside man in his company. We'll bring him to justice. If anybody could…it'd be Bond.

INT. NAMUR INTERNATIONAL AIRPORT – DAY

The airport is at best bland, with gray walls on all sides, and a large window revealing an assortment of planes. The arrivals gate is on a left wall, facing a large number of seats, all old and faded. We very briefly see a tricolour of black, red and yellow.

A man, known only as FRANCO, dressed in glasses, a windbreaker and track pants emerges from the gate and heads towards the toilet. We only see the door of the toilet for a few seconds, before a man wearing shades, an overcoat, pleated trousers, and a moustache emerges. He is notably still the same man. In his new identity, he heads for a phone booth.

FRANCO

Hello? Yes, I just arrived…the old castle, right? I'll meet you there in half an hour…twenty minutes?

With that, he heads outside the airport.

EXT. STREETS OF NAMUR – DAY

We see Franco driving a car, a typical, nondescript hatchback, through the streets. He eventually reaches Namur Castle, and drives up the hill. Once there, he exits, and enters the building through a side door.

INT. NAMUR CASTLE – DAY

The open door reveals a badly-lit passageway, which leads to a simple meeting room, with a long table surrounded by chairs. They are all empty with the exception of the one at the far end, which is occupied by a figure masked in shadows. The figure takes a cigar out of his mouth.

FIGURE

Take a seat, Franco. This will be our penultimate meeting. I only wish to check whether the teams are ready.

FRANCO

Yes. They are all ready to die at your command. I have personally gone over the profiles – added up, they have no allegiance to any known terror group. There is nothing incriminating.

FIGURE

_Nothing_ incriminating?

FRANCO

I assure you. If the governments check through their records, there is no link found to you – or anybody.

FIGURE

Excellent. The chemical industry will collapse – thanks to you and me. I have to leave now for – a social call. My assistant will show you the door.

With that, the shadowed figure leaves through a far door, and Franco gets up and turns. He is suddenly, powerfully nudged through the door, and lands on the floor. The door slams abruptly. As he gets up, there is a bewildered look on his face.

INT. BOND'S OFFICE – NIGHT

We can see papers strewn on his desk, and clock showing 10:55 is next to them. At the top of the page are passport photos of Hugo Morton. However, before we can see anything much of them, the camera zooms in on the text below them. It reads:

**PAPER**

HUGO MORTON

NATIONALITY: NEW ZEALAND

DATE OF BIRTH: 28/05/1955

BIOGRAPHY: (zooms quickly) ...Served in Vietnam War (1st Australian Task Force) 1969 – 1972. Honourably discharged following injuries sustained. Following that, inherited father (Anthony Morton)'s chemical company, Morton Chemicals. Subsequently built up fortune from –

A buzzer suddenly rings, and the view changes to Bond picking up his desk phone.

BOND

Hello? 007 here.

MONEYPENNY

(over phone)

He wants to see you, James. He'll meet you at the garage.

BOND

Right. I'll be over there in a moment.

MONEYPENNY

Acknowledged. Oh…and thanks for the CD. Still no chance you'll pay that visit?

BOND

Well, duty calls.

With that, Bond puts the phone down and packs the papers up and files them. He exits the office, switching off the light.

INT. MI6 GARAGE – DAY

The garage is sparsely decorated, with only several shelves of tools. Mechanics are running around the place, fiddling with vehicles. In the background, an ejector seat accidentally activates. Ignoring the events in the background, M stands outside a large limousine. There is a chauffeur in the driver's seat. As Bond approaches, M speaks up.

M

I presume you've read through Hugo's file.

BOND

I have, sir. I didn't know he served in the Vietnam War, though. What sort of injuries did he sustain?

M

I'm not sure. He hasn't talked about it. Maybe you could ask him when we meet him. There is one thing that isn't mentioned though. He cheats at bridge.

BOND

(slyly)

Maybe I could help him get rid of that habit.

M

(getting in car)  
>I will not stand for humiliating public figures, 007.<p>

BOND

Nonetheless, it'd be a good enough way to get his attention.

M nods. Bond gets into the car, and it starts off.

INT. LIMOUSINE - NIGHT

The journey through the streets of London ensues, and neither M nor Bond speaks. Suddenly, M seems to remember something.

M

Ah, yes. One last thing. Once we are at Blades, you will refer to me as "Admiral Hargreaves". That's what they all call me there. Understood?

BOND

Yes, sir-uh, Admiral Hargreaves.

EXT. BLADES – NIGHT

The exterior of the club gives a distinct Old World impression. Its walls are primarily wood, and the large, panelled door is surrounded on both sides by Greek classical statues. At the very top of the club is an illuminated – though not neon – sign, proclaiming "BLADES" in old style font. A fully dressed doorman stands outside.

The Rolls approaches the door, and Bond and M exit. The limousine drives off towards the garage. M approaches the doorman with a friendly smile.

M

Hello there, Charles. Nice to see they've put you back at the front door.

CHARLES

Yes – they soon realised nobody used the side ones. Who's this with you?

M

Oh, this is James Bond. He's decided to join the high society.

CHARLES

(laughs)

Well, do have a good time, Admiral Hargreaves. Mr. Bond.

He opens the door and Bond and M enter the club.

INT. BLADES – NIGHT

The interior of the club is striking, to say the least. Expensive wallpaper decorates the sides. To the extreme right is a flight of steps leading up. To its left and facing perpendicular is a bar, which faces a mass of tables, with mainly old men and young women sitting at them, all wearing expensive outfits. Bond looks around.

BOND

Where's Hugo?

M

He'll be upstairs, no doubt robbing some poor soul at the bridge tables.

BOND

He _bets_ on his bridge games? Surely he doesn't need the money?

M

Nobody knows _why _he does it. But someone always thinks he can beat Hugo. He's proven wrong immediately, of course. People have been ruined on those tables, Bond.

BOND

Then I'll put a stop to it.

They climb up the stairs leading to the bridge room. An Oriental woman in a black dress and arm-long gloves follows the two up seconds later.

INT. BLADES BRIDGE ROOM – NIGHT

We immediately see a mass of round tables, each with four chairs around them. Hugo Morton is obscured by Bond and M's backs as they approach the table. We can hear staccato cackling as Bond nears the chair closest to the entrance.

All we see of Hugo Morton is from his neck downwards. He is wearing a white tuxedo and from what we can see, he is a plump though not obese man. His face slowly comes into sight. His hair is white, and he wears a goatee. Scars cover the left half of his face. In short, he is a twisted Colonel Sanders.

HUGO

Heh-heh-heh! Evening, Hargreaves. Here to lose all your money again?

M

(takes the seat to Hugo's left)

Not exactly. My friend, James Bond, is here to lose all of his…or maybe _yours_.

Bond takes the seat opposite M. A stocky pasty-faced businessman takes the final seat, and hangs his hat on a corner of his chair. He is utterly confused by the tension in the air. Hugo looks up and greets him.

HUGO

Hello, Meyer. Glad you could make it. Let's put this upstart in his place.

MEYER

S-sure thing, chief.

HUGO

(to Bond)

So how about it? Let's have a little wager. One pound per point. Lady Luck with you?

BOND

She usually is. Let's get started.

Hugo Morton starts dealing the blue-backed cards. From a top shot we can see him winning trick after trick, and games slowly blur into each other as time passes forth. M's expression turns from frustration to resignation as Hugo wins game after game. Bond looks pensive, searching for the means Hugo is using to cheat.

Then he sees it. As Hugo takes another trick, he spots a cigarette case next to his elbow. It is very shiny…nearly like a mirror. Realisation dawns upon him, and his eyes narrow, moving from the case to Hugo. There is naught but a smug look on his face.

HUGO

Well, you've lost, Mr. Bond. That makes…

(scribbles on notebook)

£2,500 you owe me, Bond. Cash or cheque?

BOND

Why don't we all have a drink first? Maybe I can drown my sorrows before I pay up.

HUGO

Up to you, Bond.

With that, James Bond and M rise from the table, leaving the crowd to mutter at the sad fate of yet another promising young man laid waste at Hugo's table and head down the staircase. M is evidently unhappy.

INT. BLADES – NIGHT

M and Bond arrive in the same room they entered from, and both head towards the bar. The bartender turns around, holding a mixing glass. He puts it down immediately.

BARTENDER

So, what'll you gentlemen have?

M

Double bourbon, on the rocks.

BOND

Gin martini – shaken, not stirred.

M

Rot-gut.

(pointedly)

Well, I've no idea how you intend to stop Hugo cheating by _losing_ 2,500 pounds. And it's coming out of _your_ salary, incidentally!

BOND

Well, I've managed to figure it out. Have you noticed how he always deals with the card tilted a bit up on the left?

M

What of it?

BOND

I thought it a personal quirk — until I saw the very well polished cigarette case next to his elbow. He's been able to see every single card he's dealt.

M

But surely to remember all the other players' hands…

BOND

He doesn't need to. Through the bidding process he can figure out Meyer's strengths, and he need only see how many of each suit either of us have – and all the honour cards we've got between us.

M

By God…what's your plan of action?

The bartender intercedes and places a cocktail glass and an Old Fashioned, both filled with the appropriate drink, on the table.

BARTENDER

Your drinks, sir.

Bond picks up the cocktail glass and takes a long sip.

BOND

First, I'll finish this excellently made martini. Then – I'll bet the cheater at his own game.

Bond takes a few more sips, puts the glass down and heads towards the manager's office, opposite the bar and a bit to the right. M is bewildered, and stands up, nearly jumping.

M

Wait! What are you going to – ah, never mind.

He sits back down, and drinks his double bourbon. Then he suddenly gets back up, and heads towards the manager's office at a brisk pace.

INT. MANAGER'S OFFICE – NIGHT

The manager's office is in a similar style to the rest of the building. A large table practically separates the manager from the rest of the world. Filing cabinets fill the space behind him. A large plate reading "Pearson" proclaims his name. Bond enters.

BOND

(takes a seat)

Good evening, Mr. Pearson. My name is James Bond. How far would you agree to a plan to stop Hugo Morton's cheating?

PEARSON

Well, I'd support any such plan, but to be honest – I've never seen you before. I don't think I'd like to back some total stranger who barges into my office and –

The door swings open, revealing M.

M

He's doing it under my orders, Pearson.

PEARSON

Hargreaves! Good to see you again.

(To Bond)

Well, why didn't you say so? I'd help the Admiral any time of the day. Now, what do you need?

BOND

One of your standard blue backed bridge decks – and a rubber band.

INT. BLADES BRIDGE ROOM – NIGHT

Hugo is talking to the woman in the black dress, and Meyer is discussing business with some clients. The door swings open, and Bond and M enter the room again. The talking dwindles to near-silent muttering, and Hugo takes his seat. He lights a cigar in the corner of his mouth.

HUGO

Well then, Mr. Bond. Ready to give me my £2,500?

BOND

Not exactly. I think I'll win it back.

HUGO

You can't be serious, Mr. Bond.

BOND

I assure you. I am serious. After all, it's _my_ money, you know.

He walks over to Hugo's elbow, and picks up the cigarette case, smudging it beyond any practical use as a mirror.

BOND

By the way, this cigarette case: it's really quite a work of art. Fabergé-style design?

HUGO

(snatches the case and tries to polish it)

None of your business. Let's get this over with.

BOND

Oh, I'm sorry. I didn't know it was so important to you. Didn't know you _saw so much_ in it.

Hugo is startled, and grabs his chin. Bond takes his seat to Hugo's right, and M sits opposite Bond. A flustered Meyer seems to sink back further in his seat. The stage is set.

While M talks to Hugo, trading aphorisms, Bond takes the deck of cards, and brings it to hip level. He draws an identical deck wrapped in a rubber band. In one deft movement, the rubber band slips onto the "real" deck, and the rigged deck is brought back up to the table. Nobody but Bond and the viewer see this. Bond does a fake shuffle and passes the deck to Hugo.

BOND

How about we up the stakes? Give me a bit of a chance to win my cash back? Two pounds a point.

HUGO

Well, it's your funeral, Mr. Bond.

Hugo deals the deck, and furtively looks at the cigarette case, which is so blur he cannot differentiate value or suit of the cards he's dealing. The cigar shakes in his mouth. When all is said and done, he scoops his cards up, and looks in surprise at his hand. It is loaded with kings and aces – surely a winning hand. Bond looks him in the eye with a determined look.

MEYER

Well, then – let's start the bidding. 1 hearts.

M

1 no trump.

HUGO

2 diamonds.

BOND

7 clubs.

The entire table turns towards Bond. Hugo's cigar shakes even more.

HUGO

D-did you say grand slam in clubs?

BOND

Did I say anything else?

HUGO

(blustering)

Then…double!

Bond is now staring full force at Hugo. He is ready for the kill. Hugo lets out a weak "heh-heh".

BOND

_Redouble_.

People from other tables begin to take an interest. Pearson enters the room and looks at each player's hands. Suddenly seeing the enormity of Bond's trap, he takes a step back in awe.

HUGO

Eight pounds a point? You must be ready to lose, Mr. Bond.

BOND

Much on the contrary. I intend to win.

Meyer sits uncomfortably in his corner, sweating like a horse. All are looking at him.

HUGO

Come on, Meyer. Lead something. Can't be here all night.

Finally, he jerkily snatches the J from his hand and tosses it in the middle of the table. M puts his cards down, and they are the 10987 6543 76532. There is not a single diamond. Hugo gives a start.

HUGO

Haven't you got anything else, you damn fool? What are you trying to do, give the game away?

Meyer sinks back even more into his chair, if that were possible.

MEYER

S-sorry, chief. Was the best I could do.

Bond pulls the 2 from M's hand and plays it. Hugo has no choice but to play the K. Bond plays a from M's hand. Hugo plays the 9. Bond beats it with his 10. He leads a . Hugo plays his A, and Bond trumps it. Bond plays another from M's hand. Hugo plays his J, and Bond beats it with his Q. He then plays the A. Hugo has no choice again, and plays the K. He loses the trick.

Hugo looks at Bond. Bond's gaze is now boring into his eyes. Holding all the cards in one hand, he wipes his brow. He begins to realise the enormity of the snare he's been caught in.

Bond draws out the Q slowly and gradually brings it down. Without waiting for Meyer to play, he plays the 87654 and the 1084. He raises his palms.

BOND

That's it, Morton.

Hugo is enraged. He grabs his partner's cards and searches them fervently for any winners. Then he looks at his own. In a paroxysm of rage, he throws the lot on the table.

HUGO

You're a bloody –

PEARSON

(sharply)

That's enough, Hugo. We don't use such language here.

Hugo takes out a chequebook and writes out a cheque for £20,000 and nearly throws the cheque at Bond. He slowly gets up, taking his cigarette case, and walks from the table.

HUGO

Good evening, gentlemen. You'll find me in the bar.

Hugo is followed by the same woman in the black dress. Meyer gets up and runs after both. Pearson walks towards Bond and M. He shakes Bond's hand.

PEARSON

Well done, old chap. I've wanted to deflate that ego of his for five years straight.

BOND

It was nothing, Pearson. Just some…sleight of hand.

M

That £20,000 _is_ government money, you realize.

BOND

(slyly)

I think I can find a better use for it.

M

What?

Bond gets up, taking the cheque, and walks down the stairs. M sighs, and takes a swallow of his bourbon.

INT. BLADES – NIGHT

Hugo sits at the bar, taking swallow after swallow of Welch whisky. Bond approaches the table.

HUGO

Ah, Mr. Bond. You've come here to throw salt on my wounds.

BOND

Nothing like that, Hugo. I've come to ask for a job.

HUGO

(incredulously)

A job? After you rob me of 20,000 pounds? You must be mad, Mr. Bond.

Bond takes the cheque from his pocket and gives it to Hugo. Hugo snatches it from him.

BOND

Not at all. You see, despite my pretences, I'm a bit of a mercenary type – I thought it'd bolster your security if I was in your crew.

HUGO

I don't need a bodyguard, Bond. My personal assistant, Nan, already fulfils that role.

Hugo gestures towards Nan. She is one and the same as the woman in the black dress and arm-long gloves.

HUGO

Bond, Nan. Nan, Bond.

The two shake hands. Bond's eye twitches. Her grip is very powerful.

NAN

Pleased to meet you.

BOND

(in pain)

Same…here.

(to Hugo)

Very strong woman.

HUGO

(slashing gesture)

So you see? I do not need any more security. This conversation is over.

BOND

Come now, Hugo. We've all read the news, heard it, seen it. I've come to the conclusion that there's a mole in your company.

HUGO

(curious)

Now, is there?

BOND

I don't want to sound presumptuous, but I'm the man to root him out.

HUGO

Well, when you put it like that…tell you what. You're invited to my country home. It's a put-up place in Belgium. I'll give you the address.

(writes address on scrap of paper and shoves it to Bond)

Come! You _will_ enjoy it.

With that, Hugo and his entourage stand up and leave the building. Bond looks down at the scrap of paper, and we zoom in on it. The address reads:

**Château de Namur**

**Avenue de l'Ermitage 1**

**5000 Namen, Belgium**

The paper zooms out to:

INT. BOEING 777 - DAY

Bond looks at the scrap of paper one more time before storing it into his dress jacket. He plugs in a pair of earphones and looks at the screen installed at the back of the seat ahead of him.

THE UNTOUCHABLES is playing, and Agent Jim Malone bursts into an alleyway wielding a shotgun. A crook runs off down the alleyway, but Malone is shot from above.

Bond gets up from his seat, removing the earphones, and walks to the rear of the plane, and the toilets. Unbeknownst to him, FRANCO is sitting in an aisle seat, and looks up at Bond when he passes his row.

Bond opens the door to the toilet. As it closes, we can see Franco behind the door. He whispers into a radio transceiver. Soon afterwards, Bond exits the toilet and returns to his seat. Franco emerges from the shadows.

EXT. NAMUR AIRPORT – DAY

The Boeing 777 comes to a slow halt on the runway and taxis to the terminal. The Belgian tricolour flies proudly above the airport.

INT. NAMUR AIRPORT – DAY

The interior is much the same as what is seen in Franco's arrival. Bond exits from the arrivals gate, luggage in tow. He immediately heads past the gift shops, though pausing for a moment, and goes to the car rental. The rental worker looks up incuriously at Bond.

The car rental is simply decorated, with an old Bentley in a corner to identify the place as a quality car rental. Next to it, on the far wall, there are some seats with magazines strewn on them. A large AVIS sign hangs outside.

RENTAL WORKER

Welcome to AVIS, sir. What sort of car are you looking for?

BOND

Any type will do, so long as the mileage is good.

RENTAL WORKER

That all you're looking for?

BOND

What, there are more important criteria?

RENTAL WORKER

(warmly)

Welcome to Belgium, Mr. Bond. Come to the back: there's been something special arranged for you.

Bond and the worker head to the STAFF ONLY door, revealing a small garage with a battleship grey Aston Martin Virage Vantage proudly sitting in the middle, front pointed toward the door. Mechanics work at it, putting on the finishing details. Bond whistles.

RENTAL WORKER

Your pal Q told us to prepare this jalopy just for you.

BOND

What're the gadgets this time?

RENTAL WORKER

To be frank, we're not very sure. The tools were pre-prepared at Q-branch and we were told to slot them in the gaps marked out. He said to contact him at 332.6 Megahertz. It's a secure channel.

BOND

Well, then I'd better be on my way. Thanks again.

Bond steps into the Virage and drives off. The rental worker looks at the Virage go off into the distance and he turns back to his subordinates.

RENTAL WORKER

Look alive, men! There're customers waiting outside.

INT. ASTON MARTIN VIRAGE – DAY

The roads of Namur fly past as Bond drives through them and the sun slowly sets. He adjusts the radio, and the digital display shows 332.6 MHz The radio crackles for a moment, and we then hear Q's voice loud and clear.

Q

Hello? Can you hear me? Testing 1-2-3. Good afternoon, 007. Q here. Now, the first device you should notice is a microphone, hooked up to a transmission satellite, installed on the central plate of the steering wheel. Go on, talk normally.

BOND

Is this clear enough?

Q

Perfect. Now –

BOND

Wait, what would happen if I pressed the horn?

Q

It'd cause me a headache that'd last me until next Monday.

Bond's hand moves towards the horn, and is ready to press it.

Q

(panicked)

Don't try it!

BOND

(puts hand back on wheel)

Relax, Q.

Q

I swear, 007, you're going to be the death of me. Now, opening the central panel will show you the standard anti-vehicle device array. Caltrops, rocket launchers, licence plate changer, and axis-mounted light amplification disabling device.

BOND

Hubcap lasers?

Q

I despise informality, 007. But…yes. In the boot, you'll find an attaché case, with more compact devices in it.

BOND

Such as?

Q

You'll see. There's an instruction manual in there. Destroy it once you've read it. Oh yes, only use the code 962 to open the case. Anything else will activate a security device.

BOND

Is that all?

Q

Yes, 007. Now, I expect all of this equipment to be returned to me –

With that, Bond's hand moves to the dial, and changes the radio frequency, pausing at some channels before eventually stopping at a music channel.

DISC JOCKEY

And continuing our "Classic 60's week", here's a tropical ditty by Diana Coupland.

DIANA COUPLAND

Underneath the mango tree

Me honey and me can watch for the moon

Underneath the mango tree

Me honey and me make boo-loo-loop soon

Underneath the moonlit sky

Me honey and I can sit hand in hand

Underneath the moonlit sky

Me honey and I can make fairyland –

The song continues as the Virage drives through the city. It is now completely dark, minus the streetlights. We then abruptly cut to-

EXT. NAMUR CASTLE – NIGHT

The Virage drives up the path to the castle gate. The merry song cuts to an ominous theme as the car goes through the gate. Rain starts to fall. The exterior is a grim one, with a tall central tower domineering above. Bond drives his Virage to the carpark outside, and runs in to avoid the rain.

INT. NAMUR CASTLE LOUNGE – NIGHT

Bond hangs up his wet overcoat on the coat rack and dries his shoes before stepping in. Namur Castle is decorated largely in beige wallpaper, with old paintings hanging around. A second storey is visible. It forms a rim around the lounge.

Chairs form a semi-circle around the fireplace. Hugo rises from one of them, dressed in a gold-trimmed robe, pants and slippers. He is surprised and seemingly concerned.

HUGO

Mr. Bond! You've come in from the cold! I am so sorry – I should have sent someone to pick you up…

BOND

Don't worry about it, Mr. Morton. I prefer to make my own travel arrangements.

HUGO

Well, I certainly hoped this hasn't dimmed your impression of this place.

(to servant)

Vida! Take Mr. Bond's suitcases and coat to the guest room.

Vida arrives and takes aforementioned things, and the coat from the coat rack. She is dressed in a typical maidservant's clothes and an unalluring blue skirt. She goes up the wooden stairs with due haste.

HUGO

Now, surely you must be starving. If I cannot offer you transport, surely some food is in order.

BOND

I'd be delighted.

HUGO

This way. I believe that the pheasant is in season.

Hugo guides Bond to a corner of the large lounge. Hugo presses a button next to an oaken door. It slides open to reveal a lift. Hugo offers Bond in first. They enter. When the lift door opens, it is revealed that it has taken the two to –

INT. NAMUR CASTLE DINING ROOM – NIGHT

Bond and Hugo step out at the end of the table opposite the unoccupied head. While the table can easily hold eight, there are only two other people sitting there; a moustached, slightly thin, man who is probably French, and a stunning blonde woman.

HUGO

James Bond, meet M. Bartsch, and Ms. Connie Webb.

Bond shakes Bartsch's hand. Bartsch gives off a somewhat slimy demeanour, further accentuated by his voice.

BARTSCH

Ferry pleased to meet you.

BOND

Same…here.

He subtly wipes his hand against his pant leg before approaching Connie Webb. She is in her late 20's and wears a simple white shirt and black skirt. As they shake hands, Bond notices that she is wearing an engagement ring.

BOND

Glad to meet you, Ms. Webb.

CONNIE

The pleasure is mine, Mr…?

BOND

James. -James Bond.

He takes the seat opposite Connie. It is, unfortunately, to Bartsch's left. Hugo takes the seat at the head of the table, which is to Bond's left: a reversal of their seats at Blades.

Hugo raises his hand and a maidservant comes in, bearing a plate of pheasant, followed by assorted vegetables. Hugo draws the champagne bottle out of its cooler. It is Blanc de Blanc Brut '43.

HUGO

A little known brand, but it probably is among the best in the world.

BOND

I tend to prefer the Tattinger '45, but this is fine champagne indeed. Is the pheasant –?

HUGO

I shot it myself, if you must know. Do you partake in hunts, Mr. Bond?

BOND

I did once, but it was on invitation. I prefer less live targets – it takes my mind off what I have to do for my pay. But enough about me. Who joins us at this table?

HUGO

Oh. Pardon my rudeness. M. Bartsch?

BARTSCH

I am on de scientific crew of the private laboratory, as is Ms. Webb.

WEBB

I work at the R&D department, Mr. Bond, working on the newest chemical mixes for various purposes.

BOND

(to Hugo)

Private laboratory? Was that the side door I noticed when I entered?

HUGO

That would be the sally port – an artefact of this castle.

BOND

What does it lead to?

HUGO

That area is highly restricted–

BOND

If I am to be your security man, Mr. Morton, I must know every facet of this castle.

HUGO

(piqued)

Very well. You shall see it later. But first, we should eat.

All at the table tuck into the pheasant and other dishes. Connie eats neatly and in small amounts. Bartsch is a slob, nearly spilling his champagne whilst cutting the meat. Bond eats quickly and purposefully. Hugo eats slowly but in large quantities.

Suddenly, another stunning woman, dressed in an evening gown, enters the dining room through the lift. Bartsch stares at her like a wolf. Connie pretends to ignore her. She appears to be Hispanic. This is Marica Fortunata.

MARICA

Evening, Hugo darling. Who's the guest?

HUGO

Evening, Marica. Meet James Bond – my new security man.

MARICA

Pleased to meet you, James.

BOND

I assure you, the pleasure is all mine.

HUGO

So what did you come up for?

MARICA

Oh, just to wish you good night.

She kisses Hugo on the cheek. Bond raises his hand to his mouth in a contemplative gesture. Marica leaves the way she came in. As the lift goes down, Bond takes a sip of his champagne. Hugo turns to him.

HUGO

My mistress, Marica Fortunata.

BOND

I'd say you were the fortunate one, Hugo.

Bond and Hugo laugh. Bartsch guffaws. Connie lets out a sharp, fake laugh. It is highly evident she is either envious or hates Marica's guts. Whilst they continue their meal, something is visible outside the window. Bond steals a quick glance outside, before continuing with his meal.

EXT. NAMUR CASTLE – NIGHT

The same dull hatchback car reappears. Franco emerges from the front door and looks through the window. Someone in the dining room – it is unclear who - gives a hidden signal, and Franco re-enters the car, and drives off into the night. The licence plate has been filed off.

INT. NAMUR CASTLE DINING ROOM – NIGHT

The pheasant and other dishes have dwindled down to near-nothingness, and it is evident that dinner is over. Bond turns to Hugo.

BOND

A most excellent dinner, Hugo. Now, about that room…

HUGO

You shall get your wish, Mr. Bond. Ms. Webb, M. Bartsch, do check chemical mixes #17 and #30 before retiring, would you?

BARTSCH

It will be a pleasure, Mr. Morton.

CONNIE

Sure thing, boss.

Bond and Hugo get up from their chairs and head towards the lift. Connie and Bartsch use the door on the far end and go down the stairs. Connie is shown to be lugging a heavy suitcase. Bartsch leans, nay, leers in to help.

BARTSCH

Could I help you with that suitcase, Ms. Webb?

CONNIE

Piss off, Bartsch.

She walks off determinedly. Bartsch hurriedly follows behind.

INT. NAMUR CASTLE DUNGEON – DAY

Hugo unlocks the door. It leads to a set of stairs downwards, revealing the exact same room where Franco discussed matters with the shadowy figure. Lights illuminate the table, excluding the area where the figure sat.

HUGO

It used to be a meeting room; when people wished more…covert discussions. I've shut it down since.

BOND

Does anyone else have the key?

HUGO

Nobody except the caretaker.

BOND

I see. Well, forgive my curiosity, Hugo. It's a bad habit…since my mercenary days, you understand.

HUGO

No problem, Mr. Bond. It's a bit late now – we should retire. Your room's on the third floor.

BOND

Thank you. Good night, Hugo.

Bond's hand brushes the table. He heads up to the exit. Hugo follows him, locking the door.

INT. NAMUR CASTLE (BOND'S ROOM) – NIGHT

Vida presses a button on the outside of the door and it slides open, revealing a nearly opulent room. Bond walks in. The walls are nearly all black, while the floor is constituted of stark white tiles. In the middle of the room is a bed, evidently with some mechanics on the side. Suddenly, a figure rises behind the bed. He is slightly shorter than Bond, but is much more muscular. This is Krebs.

KREBS

Who the hell are you?

BOND

I'm a guest here-

With a loud scream, Krebs throws himself at Bond, sending both to the ground. Krebs lands a punch on Bond's face. Bond kicks Krebs in the midsection and sends him flying backwards. Krebs runs at Bond, ready to punch him. Bond artfully dodges and lands a karate chop on Krebs's neck. Krebs lands next to a wooden stool.

He tears out two legs of the stool (one with each hand) in a feat of strength, and hits Bond on both ears with them. Startled, Bond staggers back and one of the legs pushes straight into his solar plexus, knocking the breath out of him. Bond lands spread-eagled next to the bed. Krebs bends over him, and points his large fingers at Bond's eyes, ready to gouge them out. Suddenly a shout rings out.

HUGO

Enough!

Bond looks up at Hugo. Krebs walks up to Hugo.

KREBS

I caught him sneaking around. He looked like a fiend, sir.

HUGO

He's a guest here, Krebs!

(to Bond)

I am so sorry, Mr. Bond; Krebs – one of my housekeeping crew - tends to be a bit…enthusiastic about these things.

Bond gets up and shakes Krebs' hand. Hugo leaves. They stare each other in the eye.

KREBS

This isn't over, Bond.

BOND

I wouldn't expect anything less.

The door slides closed. Bond tries to open the door from the inside. He cannot. Resignedly, he rearranges some of the furniture, and goes on to inspect the bed. It is a Slumberite 2000, and there are several buttons below the company's name. They are: Peace, Wake, Sleep, and Love. Bond smirks upon reading the last function.

He then walks around the room and bathroom, checking for bugs and hidden cameras. He finds one behind a Goya painting of the Duke of Wellington, and another in a bowl of fruit. He covers them up with various articles of clothing in his suitcase and a towel.

Satisfied that the room is secure, Bond opens his attaché case. It is filled with various objects in paper packaging. He takes one roughly the size of a pack of cards. On the outside is written "16 shaped nitro-glycerine charges". He tears it open to reveal a pack of Lark cigarettes. He does a double-take, and reads the Surgeon-General's warning: SMOKING KILLS.

He opens the packet containing a spectacle case. The packet reads "Night-vision Goggles". They are sunglasses. He puts them back in the attaché case, and takes out the final device, a "Concealed Dart-gun", where the instructions are to "Point 12 at opponent and fire with stud."

Confused, Bond opens the package, revealing an Omega Seamaster watch. Bond turns to the packets and burns them in the ashtray. Finally, he takes out a case of talcum powder and opens it, spilling out a set of earphones. Sitting at the dressing table next to the door, he wears them, and turns a hidden dial on the side of the case. He begins hearing voices through the earphones.

Two are heard: Franco's and the mysterious figure, who sounds nothing like Bartsch, Krebs or Hugo.

INT. NAMUR CASTLE DUNGEON - NIGHT

We briefly cut to the bug on the corner of the table. Franco and the figure are seated as they were in the first meeting.

INT. NAMUR CASTLE (BOND'S ROOM) – NIGHT

Bond listens through the earphones.

FRANCO

I thought you said this meeting was going to be the last one.

Bond narrows his eyes.

BOND

Franco?

He turns back to the conversation.

FIGURE

…things have changed. There's been some new chap hired in Hugo's staff.

FRANCO

Is that a good thing or bad thing?

FIGURE

That's where you come in. I'm not sure if we should clue him in.

FRANCO

Better to manipulate him into doing what we want…then if he's captured, he's got nothing to say.

FIGURE

Ha ha ha! I congratulate you, Franco, on your ingenuity.

FRANCO

Have the targets been confirmed?

FIGURE

Yes. I've written down the ideal chemical plants.

(rustling of paper)

FRANCO

The five in Europe are well chosen. However, I have doubts about the West Norfolk plant. There are 100,000 people in the city; nearly ten times that of the other targets. The American government will not take kindly to this.

FIGURE

Relax. My radio signals will be untraceable. I have an additional safeguard – an ace in the hole, as it stands. Now, the teams…

FRANCO

Already chosen. Ready to die upon your command. However, we don't have enough of the necessary material.

FIGURE

Leave that to me. Now, there is the small matter of…

The voices begin mixing together, and soon become impossible to distinguish.

VOICES  
>She'll be at the fashion parade…Antwerp …special invitation…gelatine capsule…300 yards…no feeling…coma…death…heart attack …four days from now.<p>

Suddenly, there is a sound at the door. Bond removes the earphones and pushes the talcum powder case in the corner as he gets up. He grabs the handle and pulls the door to the right. In the open doorway is Marica Fortunata, dressed provocatively.

MARICA

Hello, James.

BOND

Evening, Marica…what're you doing…how'd you get through the door? I can't open it from the inside.

MARICA

They're electronic. You can always open them from the outside. From the inside, all _you_ have to do is to call housekeeping and they'll put you through to the switchboard. Then they'll open the door. If Hugo approves, naturally.

She leans in closer, and wraps her arms around Bond's neck.

MARICA  
>But let's not talk about leaving now, shall we, James? I thought you would be lonely…would need some…<p>

(in his ear)

…_company?_

Bond's eyes narrow. Something isn't right about this.

BOND

It…it's a nice thought, but how about Hugo? He'd be hopping mad, wouldn't he now, Marica?

Marica pushes him onto the bed. She is now looming over Bond.

MARICA

Then he'll never find out.

Bond is definitely suspicious by now. He gets up to a sitting position, forcing Marica to stand up.

BOND

Marica…don't think I'm unappreciative, but –

Marica's smile is wiped away in an instant. She is now bitter.

MARICA  
>So, that's the way it is, Bond? I've made a fool of myself.<p>

(angry)

Men used to flock –

BOND

It isn't like that.

MARICA

It is just like that. You don't think I know the signs by now?

BOND

I can't abuse Mr. Morton's hospitality -

MARICA

Ha! Since when do men like you stand on ceremony? You could've saved yourself a lot of pain; now, there'll only be regret. Good-bye, Bond.

She storms to the door and slides a card-sized piece of metal into a slot next to it. The door slides open and she leaves. Bond scratches his head in total confusion. He turns back to the talcum powder case and draws out the earphones again. He listens intently to the remnants of the conversation.

FRANCO

…Is that it?

FIGURE  
>Ah, yes. Just a cosmetic decision, if you will: would it not be better for coordination were we to name this little…venture?<p>

FRANCO

Your choice.

A brief silence.

FIGURE

A friend of mine once told me: "In this business there is much risico." Never will the term apply more aptly. We shall be putting all at stake: this is the ultimate risk. Operation…Risico.

FRANCO

Never dug the poetic stuff. Is that all?

FIGURE

(slightly indignant)

Yes, Franco. That _is_ all. The exit-

FRANCO

I'll find it myself.

Some shuffling is heard. Then silence. The conversation has come to an end. Removing the earphones, Bond keeps them in the talcum powder case. He looks at the dresser mirror, trying to make sense of the entire situation. Suddenly, there is another sound at the door. Bond pulls the drawer, revealing his gun, and then slides it closed, thinking it better not to use it yet.

Bond waits at the door, listening for a click. It arrives, and in a blur of motion, he pulls the door open, grabs the wrist of his 'guest', and pulls them in. A piece of metal is seen to fall. He turns to the floor. It is none other than Connie Webb, dressed in a modest nightgown. The door slides shut after her.

CONNIE

Good god, James! Do you treat all your women this way?

(turns to door)

No! You ass, you've made me drop the key card!

BOND

Can't you just call housekeeping and-

CONNIE

Ha! They'll only open for Hugo's "trusted staff", meaning him, Krebs and Marica. Speaking of which…

She takes a sniff in the air and stares at Bond.

CONNIE

That skank's been here, hasn't she?

BOND

For a minute. Or two.

Connie raises her arms in consternation.

CONNIE

God, I can't stand her! Swaggering around the house, just pandering to Hugo all the time - and Bartsch just stands there, drooling like some hungry dog! And now, I'm locked in here with _you!_

She sits on the bed, fuming.

BOND

You could, uh, stay here, I suppose.

CONNIE

Don't waste your charms on me, James. I get enough lousy advances from Bartsch as it were.

Bond and Connie look at each other for a while, as Bond contemplates.

BOND

You didn't come here to insult your other houseguests. What is it?

CONNIE

I came here to warn you.

BOND

About what?

CONNIE

We're being sabotaged – or something even worse. We've been made to test more and more volatile compounds. Chemical batch 23 blew up just last week. Nearly took Bartsch's face off. Only if it had!

BOND

Haven't you taken it up with Hugo?

CONNIE

All he sent were regrets, and "terribly sorry"s. Something is happening. I don't know what. Then there's been someone visiting the house. It started around three months ago. Then it got more frequent. All the same: in the dead of the night, some relic of a car drives up next to the west door. I suppose they think they're very smart. But I've seen them.

(grabs corners of Bond's shirt)

Something big is happening. Something dangerous. I don't know what, but I can't stay here anymore. What if _I'm_ a target?

Connie falls onto Bond's shoulder. He tries to calm her down.

BOND

Don't worry. When the time comes, I'll have an escape route – for us both. But there's hardly any evidence. Just an accident, and a series of trips that could be as innocent as they are sinister. We're chasing at phantoms here, Connie.

CONNIE

(angrily)

What do you want to do? Wait until whoever's out there catches up with us?

BOND

We've got no other choice. Don't worry. If there is a threat, I'll find it. As soon as there's anything concrete, we'll both escape.

(pause)

I came in here looking for a mole. I fear I've run into something far worse. You'd better get some rest.

CONNIE

I can't. Remember your "friendly" greeting?

BOND

(shrugs shoulders)

Then you'll just have to sleep in the bed.

CONNIE

(eyebrow raise)

Just the way you like it, isn't it?

BOND

Hardly.

(grins)

Maybe we've got a bolster here somewhere.

From outside the window, we see the two figures getting into the bed, and the light goes out. Back inside, Bond's hand is right next to the Slumberite controls. His finger lingers for a moment at "Love", then presses the "Sleep" button.

**FADE OUT.**

**FADE IN:**

EXT. NAMUR CASTLE PAVILION – DAY

Breakfast is afoot. Hugo is dressed in a three-piece suit, and Marica is in a posh dress, having breakfast. Bond and Connie walk in, dressed somewhat more casually.

HUGO

Good morning, Mr. Bond. I trust you had a good night's sleep?

Bond steals a gaze at Marica.

BOND

It was somewhat…interrupted, but other than that, it was fine.

None of the bitterness of last night is evident in Marica's voice.

MARICA

Thankfully for you then, James.

BOND

Thankfully for me.

He and Connie join the two on the pavilion, eating toast and rolls and that sort of thing. When offered the teapot, Bond denies it, instead heading for the coffee. Hugo appears to remember something, and talks to Bond in between bread rolls.

HUGO

Oh, did I tell you, Mr. Bond? The Medieval games are scheduled for today.

BOND

Medieval Games? A local event?

HUGO

Yes, yes, quite so. The local population have a proclivity…nay, obsession with the Romantic idea of the Middle Ages, and have this fair every once in a while. I, being the richest man in the city, have hosted this for…how many years now?

MARICA

Five or six, I believe.

HUGO

Ah, yes. There're many events in the games themselves: There's archery, horse-riding…and wrestling. Krebs is quite the main contender. He's gone undefeated since we started.

BOND

So who'll be the poor fool who does battle with him this year?

HUGO

That would be you; I've signed you up to fight him.

Connie looks up in surprise and concern. Bond bites his lip. Marica's eyes narrow, and a subtle smirk forms on her face.

BOND

But surely I'm not his class…he was all too ready to beat me half to death when we first met.

HUGO

Whether you win or lose, Mr. Bond, is of no consequence. I only look for the _will_ to win. Guts, Bond. That's what I'm looking for.

BOND

You'll get your fair share once he's through with me. When do we leave for it?

Hugo looks at his watch. It is an expensive timepiece, with gold inlay on the rims.

HUGO

In around two hours or so.

BOND

Then if you don't mind, I'll go up to my room. Say my prayers and everything.

Bond takes a sip of his coffee and walks back to the castle, much like a man being sent to the gallows.

INT. NAMUR CASTLE (BOND'S ROOM)-DAY

Bond is doing some shadow-boxing, wearing a singlet and pants. He switches to judo and aikido moves, throwing and punching invisible enemies. After some of this, he resignedly walks back to the dressing table. Then he sees the Omega watch. A smile forms as he formulates a plan.

Bond dresses up and exits, directly cutting to:

EXT. MEDIEVAL FAIR – DAY

Bond walks out from the car, closing the door behind him. We immediately see a mass of stalls with bright ribbons and hear lutes and mandolins playing aged tunes.

Bond looks to his right to see a mass of men, apparently in two teams, dressed in Middle Age costumes on stilts, rushing at each other. With a great crash half a dozen of them collapse like felled trees.

Moving on, the party then goes to the archery range, where would-be Robin Hoods fire away at targets nine to twelve feet away, with limited success. They progress forward, just as a crowd of horses cross their path, thundering through a racecourse. Finally, they reach an open-air wrestling ring, which has a tent behind it.

HUGO

You'll wait in the tent. They'll give you a number. When they call it out…it'll be your turn.

Bond grunts, then silently walks to the tent and is passed a scrap of paper with "7" scribbled onto it.

INT. MEDIEVAL FAIR TENT – DAY

Bond takes off his jacket, revealing the same outfit he practised in. There are around eight other contenders, some more muscular than him, some less. Bond does some stretches and sits on a bench, looking at his watch. He waits as the round begins.

Various shouts of pain, being walloped and general injury are heard through the tent flap. Bond glances at his watch from time to time. All the while through, contenders are being called out, until the inevitable...

REFEREE

Number 7!

EXT. MEDIEVAL FAIR (RING) – DAY

As Bond walks out, we can hear a short introduction of him.

REFEREE

From across the English Channel, we introduce…Mr. James Bond!

Bond walks up to the ring and climbs through the ropes. Krebs is waiting. In the front row sit Hugo, Marica and Connie. Hugo is impassive. Marica has a sly look on her face. Connie is attempting to hide her worry.

The referee brings Bond and Krebs closer, and makes both face the audience.

REFREE

Gentlemen, standard rules: there are none - except this one.

With that he leaves the ring. A bell is sounded. It has begun.

Krebs leaps at Bond, trying to bring them both down. He quickly dodges, and Krebs hits the side of the ring. He wheels around and grabs Bond's arm, and tries to throw him to the far end of the ring. Bond lands and rolls, and faces Krebs. Krebs throws a punch at Bond's head, but it fails to connect. Bond then unleashes a series of blows on Krebs' chest area, trying to find the solar plexus.

However, Krebs catches his hand again, and brings Bond down onto the floor. His large hands grab Bond's neck, ready to crush the life out of him. Connie looks away. Then, Bond grabs Krebs' neck with his feet, and does a back roll, sending his opponent flying. The crowd cheers. Connie joins them.

Hugo's eyes narrow, and he takes a swing at his flagon of ale. Krebs handsprings and now menacingly faces Bond again. He charges with all his might. Unready for this, Bond is caught up, and lands violently on the side of the ring.

A punch in his chest by Krebs makes him stagger, being only supported by the ropes at the sides. Krebs makes ready to land another blow. However, Bond dodges just in time, and the balled fist is caught in the ropes.

Seizing the opportunity, Bond squarely kicks Krebs in the "golden spot", making Krebs roar in pain. The crowd cheers madly. Just then, Krebs frees his hand, but before he can do much else, Bond dives through his legs and forward rolls to the other end of the ring. He eggs Krebs on with a beckoning gesture.

Krebs charges again. Even though Bond dodges, Krebs grabs his shoulder, and brings both down. He starts to strangle Bond, and pins his legs down with one of his feet. Bond tries to break free, but cannot.

Then, his arms swiftly move together, and the dart flies forth from the watch, hitting Krebs in the chest. The grip weakens. As Krebs tries to get steady, Bond kicks him in the face. He gets up and strikes Krebs squarely in the solar plexus, pulling the dart out too. Krebs lands with an empathic thud.

Bond stands over him triumphantly. Then, Krebs stirs. Bond is surprised. Then, Krebs falls, completely still. The crowd goes wild. Connie stands up and cheers. Hugo downs the rest of his ale. The referee gets back up on the ring, and raises Bond's hand.

REFEREE

The winner – James Bond!

The crowd continues to cheer as Bond exits the ring, wiping himself with a towel. Two of Hugo's men attempt to drag Krebs out. Bond heads towards a stony-looking Morton. Beside him are a sly Marica and a proud Connie.

HUGO

(forced)

Congratulations…Mr. Bond. You know, nobody's ever actually beaten him before.

BOND

I guess I just broke that trend then.

HUGO

You may just have.

(checks watch)

Well, we've got a couple more hours here. Marica and I have to tend to some…administrative matters. Would you mind Ms. Webb while we're away?

Bond takes a glance at Connie.

BOND

(eyebrow raise)

Oh, I don't mind. If I may change up…?

Hugo gives a perfunctory nod and downs his flagon of ale. Bond returns to the tent, opening the flap.

INT. MEDIEVAL FAIR TENT – DAY

The tent is now empty, minus some abandoned drink cans and food wrappers. Bond changes up back into his windbreaker and pants. He pulls back the windbreaker to reveal the shoulder strap, Walther P88 still in place. Packing the rest (towel included) into a case, he leaves.

EXT. MEDIEVAL FAIR – DAY

Bond walks out as Connie waits. She suddenly grabs him by the arm and they go forth to participate in a number of just-about Medieval-related activities. They head towards the archery stand first. A Robin Hood dressed attendant shows the two some basic bow techniques. As he talks, Bond looks to the right. A black van drives past. His eyes narrow.

Bond takes the shot first. The arrow thuds a little off center. Connie tries after him. This time, it strikes dead center. Connie smirks and Bond shrugs his shoulders. She leads the way to another stand. Bond stares in the direction of the van. It is gone.

Next, they go and bet at the horse-racing. As the troop thunders past, Bond's windbreaker gets pushed back by the wind, briefly revealing his weapon. He quickly shifts the side of his jacket to conceal it again. In their dust is that van again. Bond begins to have his suspicions, but the announcer breaks his train of thought.

ANNOUNCER

China Blue wins! China Blue wins! After him's Elektra! Rising Comet! Silver B–

As the announcer calls out rather unfortunately-named horses, the pair head to the ticketing counter, whose attendant pays out profusely. Connie grins up at Bond. He returns the smile, whilst helping her to stuff the winnings in their wallets.

They take a stroll around the fair. Bond looks at his Omega watch and is surprised at how much time has lapsed. He pulls Connie away from her vector and they head towards the management offices.

Suddenly, with a terrible roar, the black van brakes right in front of the door, and black-dressed gunmen pour out. One of them fires into the air, and the crowd quickly disperses in panic.

BOND

Stay here.

Connie nods, and Bond draws his P88. However, before he can act, thick smoke pours out from the rear of the van, clouding everything. He stands up carefully, and can hear voices emanating from the mist. One is the figure heard earlier. The other is – Hugo.

FIGURE

Hugo Morton. You've interfered in my plans for too long. Come with us or else.

HUGO

Help-help! Anyone! Krebs! Mr. Bond!

FIGURE

That glorified mercenary cannot help you now, Morton. Nobody can. Now, prepare yourself. For –

He punctuates his sentence with the cocking of a pistol. Bond springs into action, leaping into the mist. He charges into somebody and a gun clatters to the floor. Various voices are heard, shouting of an intruder. Someone begins to choke Bond. He punches forward and finds a face. The grip relaxes. The smoke thins a bit, and Bond finds himself surrounded by four gunmen.

They fire as Bond charges into one and spins him around, using him as a human shield and firing his weapon at the other three. He is abruptly struck from behind by a shadowy figure and falls. He holds his sore head as the remaining others pile into the van. They apparently have abandoned plans of kidnapping: Hugo lies on the ground, to Bond's left.

The van drives off, covering its path with a thick smokescreen. Hugo comes to. He sits up. Connie emerges from behind the bush and walks up to the two.

HUGO

Mr. Bond! Thank goodness – God knows what they might have done…

BOND

(gets up)

My duty, after all.

He offers a hand to Hugo, who takes it and gets up.

BOND

Whatever it is, the festivities seem to have ended. We'd better leave.

Hugo takes out a handkerchief and wipes off his sweat.

HUGO

Yes, yes, of course.

(stares in the direction of the van)

What do you suppose they wanted?

BOND

(grimly)

We'll never know now.

EXT. NAMUR CASTLE – NIGHT

The Rolls-Royce pulls up at the gate and parks next to the Virage. Figures pile out and head towards the chateau. The order is as such: Hugo, Marica, a recovered but sore Krebs, Connie and Bond.

Bond pauses at the open doorway and turns to look at another van in the parking lot. It is identical to the model seen at the fair, but a dark gray. Connie calls him from the lounge.

CONNIE

Are you coming in?

BOND

(quickly)

Yes, yes.

He steps in and closes the door. As he does so, we zoom out to see an aerial shot of the castle, now seeming somewhat menacing in the night sky.

INT. RUSSIAN OFFICE – NIGHT

Franco and a Russian general, ROSTISLAV, are in an opulent room. However, we can see little of it, due to only the desk light being on. A map of the High Tatras Mountains of Poland, specifically the Lomnický štít pass, is visible on the table, with markers on it. Rostislav, a bearded general in an ill-fitting uniform, sits opposite Franco, still wearing his parka. The two are speaking in Russian.

ROSTISLAV

I thought we had agreed that my…contributions have ceased.

FRANCO

I thought so too, Gen. Rostislav. However, we have hardly a safe margin of materials to complete the task at hand.

Rostislav stubs a cigarette out on the ashtray.

ROSTISLAV

That is hardly my concern. Whatever nefarious plans-

FRANCO

750,000 dollars, in various currencies.

Rostislav is startled. He lights another cigarette and gets up. He turns to the window, deep in thought, taking draws on his cigarette and pacing around. Finally, he turns towards Franco.

ROSTISLAV

All right, all right. How much and where?

Franco points at the paper, at one of the markers.

FRANCO

Bring ten trucks.

INT. NAMUR CASTLE DINING ROOM – NIGHT

Empty plates and those covered in bones and remnants cover the table. Bartsch noisily slurps down the last of his soup. Connie gives him a disgusted look.

HUGO

Well then, good night. You may retire to your quarters now.

Bartsch, Connie and Bond get up and prepare to leave.

HUGO

Not you, Mr. Bond.

Bond swings around to face Hugo and sits back down. Connie looks back at him, and then turns away quickly before Hugo notices.

BOND

All right, what do you want?

HUGO

Well, the thing is, Major Bond –

Bond's eyes narrow. He puts on an expression of shock and surprise.

BOND

What?

HUGO

(condescendingly)

Oh, come now, let's not put on any more charades. You called yourself that every day from 1987 until three years ago. Until, as I've learnt, you were dishonourably discharged for controversial actions in Central Africa.

BOND

That information is highly sensitive-

HUGO

Ha! That hardly fazes my team of researchers. They know every trick in the book.

He takes out a large brown manila file, with Bond's name printed in stencil on the outside. Hugo puts on a pair of reading glasses.

HUGO

Within this folder, my dear friend, is the summation…of your life.

(He begins to read from it)

James Bond, born James Lancaster Bond on 13 April 1946, to Peter and Evelyn Bond in a Swiss hospital. Educated in Dunford School, joined British Army underage in 1963.

Transferred to UNOC and participated in the Congo conflict. Several military ventures until Lebanon, where you took it upon yourself to destroy a truck containing seventeen insurgent soldiers – and twenty refugees.

(up at Bond)

Quite the report there, wouldn't you say?

BOND

The Official Secrets Act-

HUGO

-A mere formality. Half of the information in this folder…

(he raises the folder)

…could crush nearly a dozen UN operations.

BOND

And the other half?

Hugo's face takes a turn for the grimmer. He stares coldly at Bond.

HUGO

Don't joke around with me, Major Bond. I have you…all of you…contained in this folder. Your past belongs to me. Your future is all mine. Unless you commit certain actions on behalf of this company, I will have no choice but to release this to the papers.

The folder lands loudly. Bond puts on an expression of anger, of rebellion, until he resignedly sinks back into his chair.

BOND

All right, I'm yours. What do you want?

Hugo picks up another folder and takes a photograph from it. He looks at it but does not put it on the table yet.

HUGO

Would you by any chance know a certain Franco Kilgore, Mr. Bond?

Bond takes a cigarette from his case and lights it. He thinks for a moment.

BOND

I don't believe I've had the pleasure…

HUGO

I don't believe anyone's had the _pleasure_ of meeting him. Franco "The Bomber" Kilgore. Freelance terrorist. He shot up to fame some years back after that string of airport bombings.

He places the photograph on the table. It is a mug shot of Franco Kilgore, wearing a hooded parka, enormous sunglasses, and a moustache. Bond picks the photograph up.

BOND

What about him, then?

HUGO

I wish for you to assassinate him.

BOND

(eyes narrow)

For what cause?

HUGO

My security crew have spotted him lurking around my castle for some time now. I believe he wants to contact me. I have lured him with a hidden message that proscribes that we shall meet after the Antwerp fashion show. You will then have your opportunity.

BOND

It appears you've got this more planned out than I do. Is that it?

Hugo takes out another piece of paper, which unfolds to form a map of the Lomnický štít pass in Poland.

HUGO

No. I am having troubles with my supplies coming in from my Eastern factories. Bandits, mostly. You are to help secure the second convoy. The first has already gone through.

Bond stares down at the map and traces lines with his fingers.

BOND

How many vehicles will there be involved?

HUGO

Ten trucks. Be there by 7 AM, local time. And if you even think of backing out of this, I assure you, I will not hesitate about releasing the contents of your file. I've got you, Mr. Bond. Don't forget that.

With that, Hugo gets up, taking the all-important folder with him, and enters the lift, leaving Bond alone in his chair. A smug look comes over Bond's face.

BOND

No, Hugo. _I've_ got you now.

INT. NAMUR CASTLE (BOND'S ROOM) - NIGHT

The room is only lit by the desk lamp at the dresser table. Sitting at it, Bond takes out the talcum case again, and spills out the earphones and mini-microphone. He speaks slowly and deliberately into it.

BOND

007 to Century House. Watchword 'Meltdown'. Smell a rat. Check all truck convoys passing through Poland for contents, buyers, sellers. Request check on history of Franco Kilgore's movements over last six months. Will call again if assistance required. Over and out.

He carefully piles the equipment into the case. With that, he packs it up, checks his P88 is where it is supposed to be, and heads into bed. As he lies down, he turns to the window. A red neon sign on a building proclaims "HELL ON EARTH".

Bond does a double take, and stares at the sign. It apparently belongs to a nightclub, even having an animated devil at the side. Swiftly drawing the curtains, he lapses into sleep.

EXT. LOMNICKÝ ŠTÍT PASS – DAY

**TITLE CARD: LOMNICKÝ ŠTÍT PASS – 6:58 AM**

The pass lies between two imposing rows of mountains. The atmosphere is at best bleak, with a mist that seems to pervade all, floating in the valley. A slow train of ten off-road trucks slowly progress down. We can see smaller vehicles, such as Jeeps, guarding the trucks in the convoy.

A Mil Mi-24 "Hind" helicopter, greyish-black and with the Morton Chemicals Co. symbol painted on it, lands. Troops dressed in similarly coloured uniforms pile out and one of them brings a Jeep to the copter. Bond exits, smoking a cigarette. Taking a draw on it, he enters the Jeep and loads his weapon, an FN-FAL assault rifle.

The convoy progresses forward for a good few minutes, with only the occasional bird breaking the silence. A bird swoops past, ruffling past a few soldiers. Bond throws his cigarette off the side of his Jeep.

Then, in an alcove, a soldier with a compass rose pattern on his sleeve, fires an RPG.

It finds its target at a truck behind Bond, which explodes in a fiery mess of potassium and caesium. From around the corner, FV432 troop carriers charge in, troops inside firing automatic weapons. The convoy charges forward, and a massive gun battle ensues.

Soldiers on both sides fire at each other, and a thin line is soon breached by FV432 armoured cars, firing into the convoy defenders, and running rounds around them.

Bond pulls out his P88 along with his FNFAL, and climbs onto the top of a truck to gain a vantage point. Another rocket flies toward him. He leaps forward, avoiding yet another explosion. Bullets fly and zip past. He dashes toward cover, finally hiding behind the wreckage of a Jeep.

He emerges occasionally, and fires into the attacking forces. One of their gunmen finds his way behind Bond and grabs Bond's neck from behind. With an adept throw, the attacker lands in front of Bond, and he stuns him with a dint from his rifle butt.

A FV432 swings past, firing at him throughout. As it turns away, he grabs a pipe extending from the end of it, and climbs aboard the vehicle. Striking the hatch multiple times with the end of his rifle, he forces it open. He then grabs the driver within, and drags him out of the vehicle, throwing him to the back of the FV432. Bond deftly hops into the cockpit.

Inside, the machine gunner swipes forward, trying to hit Bond, but 007 turns, and clips him in the knee with the Walther P88. His attacker collapses in pain.

The vehicle makes a turnabout, and drives straight for a fuelling truck at the back of the attack group. As the FV432 gets closer, Bond slowly climbs out of the cockpit. Troops around him try to escape, not focused on stopping Bond's mad charge.

50 metres. He stares ahead, slowly getting up.

20 metres. Bond steps to the back of the vehicle.

10 metres. This is it.

Bond takes an enormous leap off the rear of the FV432. As he jumps, the scenery behind him completely explodes in an awesome paroxysm of potassium, carbon and trinitrotoluene. He lands running, and ducks behind a turned-over truck. A gun is cocked behind his head. A voice calls out behind Bond.

VOICE

All right, that's quite enough…007?

Bond wheels around. He comes face to face with none other than 002, Thomas Stuart, wielding a Browning Hi-Power.

BOND

Stuart. Thomas Stuart…what the hell are you doing here, 002?

A small explosion is heard behind the truck. They duck, look at it, and then turn back to their conversation.

002

I may as well ask you the same question, Bond. What's the idea, blowing up NATO trucks?

BOND

NATO? I thought this lot were bandits. I was working undercover for Morton Chemicals: Hugo sent me here to protect the convoy.

002

Well, they've got no business here: Century just got word that some General called Rostislav's been illegally selling volatile chemicals. The old fogey sent me and some GIGN chaps to clean the mess up.

BOND

(blinks)

Wait, Rostislav's selling illegal chemicals to _Morton_?

002

Seems to be that way.

Another explosion thunders, sending both sprawling.

002

Got a plan?

BOND

Let it through. I don't know what Morton's up to, but if this fails, I'll lose any opportunity at figuring it out.

002

You're the boss.

With that, they both separate, and 002 signals to the NATO troops to withdraw. Bond fires over their heads. As the NATO vehicles retreat, Morton's troops start cheering. Bond, though is silent, and looks in the direction of the FV432s, which leave a large trail or detritus. A jeep is still on fire, to Bond's right.

INT. CHEAP HOTEL ROOM – NIGHT

Bond sits in a chair next to a dressing table, topless but wearing pants. His shoulder holster lies over the back of the same chair. The FNFAL rifle lies stripped on the bed. The window lies open, and the evening draft billows the stained curtains.

Bond is drinking some cheap Polish vodka, downing a shot slowly. He stubs his cigarette out in an ashtray. The phone on the table rings, and he lifts the receiver to his ear.

BOND

James Bond here.

HUGO

Well done, Mr. Bond! I heard all the good news from the lieutenant. Nine out of ten trucks saved – without you, the company's projects would have collapsed for sure.

BOND

Thank you.

(downs a shot)

Do you mind if I stay in the region for a day?

HUGO

(curious)

For what reason, Mr. Bond?

BOND

Personal…matters.

HUGO

Well, you've already gained my trust. Just return in due course.

BOND

Naturally.

He brings the receiver down and pours out another shot of vodka. He promptly swallows it. We zoom out of the hotel to a top citywide view of Krakow.

EXT. RUSSIAN MANSION – DAY

The imposing mansion is surrounded by a large metal gate sunken into knee-high concrete. Barbed wire coats the top. The mansion itself is pure Soviet design; utterly Bauhaus, with a large flag of Russia flying on top. A small guard post stands outside, with a machine-gun pointing out.

A rental car drives up to the guard post. A tired guard gets out of the post and knocks on the side windshield.

GUARD

_Oi__! Вы! Покажите вашу идентификацию. Это строго за пределы гражданским жителям!_

Oi! You! Show your identification. This is strictly out of bounds to civilians!

The windshield winds down. James Bond is revealed to be driving it.

BOND

_Говорите человеку в, что Джеймс Бонд - здесь. __Он поймет._

Tell the Man inside that James Bond is here. He will understand.

The guard exasperatedly throws his arms up and heads back in. He activates his radio.

GUARD

_Некоторый товарищ, называющий себя Джеймс Бонд хочет войти._

A warm Russian voice, though garbled a bit by static, comes through.

GENERAL

_Позвольте ему прямо в! Он долгожданен здесь._

The guard presses a green button. The large gate slowly swings open, and the car drives through. Inside the guard post, the guard takes a swig of beer and counts the minutes away on a large clock to his left.

INT. RUSSIAN MANSION – DAY

Bond walks down a corridor. The carpeting is ornate but sturdy, and the walls are pale beige. Newspaper clippings in frames cover the inner walls. He opens an opens the door. His frame blocks out whomever it was that let him into the mansion.

GENERAL

Come in, come in! It's been far too long.

We now see the front of Bond, dressed in a suit sans tie.

BOND

General Pushkin.

We now see General Pushkin's face. He, a warm figure, wears a big smile and a three-piece suit, less than perfectly worn. Behind him is a large portrait of a Russian Romantic author by Vasily Tropinin. The office is slightly ornate, mainly a beige colour with an intricate though dirty carpet.

A statue of Trotsky stands by the right wall. The left wall is mainly dominated by the window, covered by a red curtain. Pushkin's table is a sturdy, ornate one. A simple metal chair awaits Bond.

PUSHKIN

Take a seat, will you? It's such a pleasure having visitors – the paperwork is a positive nightmare.

(puts away a pen)

So, what brings you to Russia, Mr. Bond?

BOND

Do you know a certain General Rostislav?

PUSHKIN

(thinking to himself)

Rostislav…Rostislav…where have I heard that name before?

(with realisation)

Ah! Yes…one of the many displaced "generals" after the whole place went to hell. A tragic event.

Pushkin stands up and pours out drinks for both him and Bond.

PUSHKIN

What about him?

BOND

Well, I can't say much, but would he be the type to sell…chemicals?

PUSHKIN

He's certainly the type, yes, yes. You know, he once used to work under my department. I had to fire him.

BOND

Oh, what for?

PUSHKIN

You know that mess about Arkhangelsk some years back…some CIA agents were trying to destroy the plant. He shot one of them after he'd been disabled. And the fellow was a member of the US embassy! The Trevelyan business took ages to resolve.

BOND

(ironically)

A tragic event.

Pushkin glares at him. After a beat, he continues.

PUSHKIN

Anyway, he was transferred into the chemicals arms area…and that's where I last left him. I wouldn't be surprised if he's selling those chemicals illegally now. How does this all relate?

BOND

Let's just say I'm working on an assignment, and he's a primary suspect.

PUSHKIN

Well, obviously I can't reveal too much, but maybe I can help you…

He turns behind him to a large filing cabinet. He produces a key from his jacket pocket, and unlocks a drawer. He then withdraws a large set of keys from said drawer, and uses _those_ to open another drawer, from which he takes a manila folder.

He passes it to Bond, who opens it. The first thing he sees is a picture paper-clipped to a page. It is of none other than Franco.

Close shot of Bond's eyes. They narrow. We then see Bond and Pushkin in silhouette through the curtain, discussing matters.

INT. NAMUR CASTLE – NIGHT

Bond enters and hangs up his coat. Vida tries to look away as he enters. Hugo is sitting in a chair facing the fireplace. He stares at Bond as he walks past. As Bond walks to the elevator, he sees Krebs standing right next to the door. He, too, gives Bond a hard stare.

Bond enters the lift, breathing audibly.

INT. NAMUR CASTLE (BOND'S ROOM) – NIGHT

Bond walks to the dresser and takes out the talcum powder case for the last time, and the earphones spill out. Putting them in, he nervously listens in to the room.

FIGURE

He's outlived his usefulness. He suspects far too much. We've heard him communicating to other powers. Our spies last noted him at a Russian general's house. That's evidence enough. Terminate him.

Bond's face registers surprise. "Him" no doubt refers to himself. He immediately picks up his attaché case and empties it of whichever useful gadgets or devices and packs them into his jacket. Bond turns a hidden dial on the case, and speaks into it.

BOND

007 to Century. 007 to Century. Watchword Hillary. Leaving compound now. Cover blown. Arrange safe house in Charleroi. Over and out.

He withdraws his Walther P88, and heads for the window. Suddenly, a sound is heard from the door. Bond swings around. Connie is in the doorway, dressed practically. She is in a nervous state.

CONNIE

They're coming for you! I saw them at the outside door.

(beat)

You said you had a plan, right?

BOND

Right, right. Come on!

They both head to the window. Bond looks down. It is a sheer drop of three stories. He heads back, followed by Connie, and unclips the middle of his belt, revealing a rappel line. He attaches the other end to a chair, measures out some cord, and 'locks' the cord. He moves the dressing table and braces it against the door.

Bond and Connie head to the balcony again. Loud pounding is heard at the door. Bond turns to her.

BOND

Hold on to me.

Connie nods and complies. Bond and Connie leap off the balcony. As they fall, the chair slides and is dragged towards the balcony, finally hitting the bars with a loud clang.

EXT. NAMUR CASTLE – NIGHT

It's dark outside, but there's enough visibility to see most of what happens. With a thump, Bond and Connie land on the tarmac. Bond removes the belt and leaves it hanging. Both head immediately to the Aston Martin Virage. Bond pulls the keys out of his pocket and unlocks the doors on both sides. The two get in.

INT. NAMUR CASTLE (BOND'S ROOM) – NIGHT

After even more thumping at the door, a boot finally crashes through. With a mighty heave, the doors are flung aside, revealing Nan holding both pieces of the door. She is leading a squad of assassins, dressed similarly to the troops during the chemical convoy battle. Some wear some sort of advanced goggles.

The whole lot of them run to the balcony and open fire on Bond's car. The shells bounce uselessly off its bulletproof frame. A few seconds of futility later, Nan outstretches her hand, and they stop firing. The Virage drives off towards the exit. Nan signals the troops back, and they head back through the broken door.

INT. ASTON MARTIN VIRAGE – NIGHT

Bond swerves the car, and it takes a direct course at the gate.

CONNIE

Look out!

BOND

Don't worry about it.

He steers a hard left, and reaches down to the panel next to the gearstick and pulls it open, revealing an array of buttons, some of which read LASER, OIL-SLICK and CALTROPS.

EXT. NAMUR CASTLE – NIGHT

He presses the LASER button, and the axles stop rotating. The lasers fire out of the axles. As this happens, the Virage's curve lines up with the heavy gate, and the lasers slice through the bars. It keeps turning until its nose faces the gate again.

INT. ASTON MARTIN VIRAGE – NIGHT

CONNIE

You're not going to-

Bond smirks, and hits the accelerator.

EXT. NAMUR CASTLE – NIGHT

The VIRAGE crashes straight through the weakened gate, leaving metal rubble in its path. Suddenly, several grey and black vans identical in design to those in the Mediaeval Games make chase, engines roaring in the night. Lightning flashes and thunder rolls.

INT. ASTON MARTIN VIRAGE – NIGHT

Connie swings back around and sees their pursuers now.

CONNIE

They're after us!

Bond twists the central radio dial, until 332.6 MHz is displayed.

BOND

007 to Century! Being pursued. Repeat, being-

A large amount of static is the only response.

BOND

Damn it, it's being scrambled!

He looks up at the rear view mirror, spotting the vans. He reaches down at the control panel and simultaneously presses the buttons CALTROPS and OIL-SLICK.

EXT. NAMUR CASTLE PATH – NIGHT

Caltrops drop out from under the car and an oil-slick spews out. Behind the VIRAGE, the vans encounter mayhem. One slides uncontrollably and tumbles down the hill. Another has a quadruple blowout and careens into another van. Explosions happen.

Still, some four or five vans make it through. This isn't going to be so easy for Bond. Engines roaring, he drives down the road and heads down into the city.

EXT. STREETS OF NAMUR – NIGHT

We see that aforementioned road leads to one that passes a canal. The lights of the city illuminate both sides of the canal, and traffic has become heavier. Bond weaves his way through the cars, as do the black vans.

One of them slams into Bond, sending him scraping against the fence that straddles the canal. Bond looks up and sees a bridge ahead.

He suddenly reverses, and the overeager van speeds to the right. It charges straight through to the bridge, and its momentum sends it flying straight through the fencing, and right into the canal. It sinks quickly.

The chase continues apace. As Bond expertly drives through the teeming cars, the vans simply ram their way through, leaving slight carnage in their path. A sharp left turn suddenly appears. Bond sees his opportunity.

INT. ASTON MARTIN VIRAGE – NIGHT

Bond swerves the steering wheel sharply left. Connie loses balance and lands on Bond's shoulder. She quickly gets up and dusts her shoulder.

EXT. STREETS OF NAMUR – NIGHT

The Virage swerves sharply into the left road. Some vans aren't so fast, and either overshoot or crash. Others take an alternate route. Those that do follow Bond, though, continue chasing him doggedly. This isn't going to end quickly.

From a lightly wooded area we see that the cars now enter a denser region. The black and grey vans drop back a bit, wanting to be less conspicuous. It's still obvious they're tailing him closely, and they weave in and out of traffic keeping the same distance.

They eventually start reaching a stop-light. It's currently green, but the little 'green man' is already flashing. Large LED numbers count down the seconds from 10. Bond's car accelerates.

INT. ASTON MARTIN VIRAGE – NIGHT

We now cut here and there between a close-up of Bond's eyes and the traffic light. Connie's eyes widen, and she tries to brace herself against something. The seconds tick down. 9. 8. 7. 6. 5. 4. 3. 2. 1.-

EXT. STREETS OF NAMUR – NIGHT

The light turns amber. An instant later, the Virage takes an exaggerated arc right across the junction. It goes red, and traffic from the left starts charging through. Some vans try and edge in – with disastrous consequences.

As soon as the first tries to drive in, it is run into by a juggernaut of a truck. Other vans crash into the truck, causing a mass of metal to obstruct the road. The horns of cars echo into the night.

INT. ASTON MARTIN VIRAGE – NIGHT

Connie turns to look at the destruction in the junction. She turns back to Bond.

CONNIE

Is it…over?

Bond looks in the rear view mirror. There's nothing chasing them…yet.

BOND

I doubt it.

EXT. STREETS OF NAMUR – NIGHT

As if on cue, three vans burst out from an alley, evidently having taken a side route. One of them squares up to Bond's right and the window slides down, revealing a goon with a revolver. The round goes off – and thuds into the bulletproof windscreen.

Unfazed, he fires two more times, leaving a pockmarked screen but no results. He turns the wheel to the left to drive in closer to Bond. As the van complies, he starts hitting the screen with the butt of the gun. His compatriot next to him tries to bring his attention back to the road, but fails.

INT. ASTON MARTIN VIRAGE – NIGHT

Bond sees what's going on, and check the road ahead's clear. Then his left hand reaches over to the glove compartment in front of Connie and it snaps open. It remains in there. Connie gives him an incredulous look. He presses the windscreen button and it slides down.

EXT. STREETS OF NAMUR – NIGHT

Completely confounded, the goon immediately tries to change the grip of his handgun. But it's too late. The windscreen is now half down and Bond's staring straight at him.

INT. ASTON MARTIN VIRAGE – NIGHT

In a lightning move, Bond's left hand swings from the glove compartment, wielding a gun, and he shoots the thug right in the face. Connie is evidently startled.

EXT. STREETS OF NAMUR – NIGHT

The goon reels back, hitting the steering wheel and the van goes madly out of control, honking all the way. His passenger tries to drag him off the wheel, with no success. It ultimately strikes a lamppost and flips on its side. As it drags along on the pavement, the honking fades.

There are still a couple of vans behind Bond, but the chase is more muted now, with residential estates passing to the right here and there. They cross the bridge across a small river. Yet another junction awaits, and Bond takes a turn, driving due west. The vans have no problem following. The same happens for a second junction.

EXT. ROADS OF BELGIUM – NIGHT

After they clear the residential area, the road becomes much darker. In the low visibility, only the piercing headlights remain. They drive for minutes in the darkness, keeping up the pace. The closed farmyards zoom past, with only a sleeping cow here and there.

They pass a junction or two, the chase still on. Suddenly, nearly out of nowhere, a large truck appears in Bond's headlights. He slows down. The truck is an open-top one, with a tarnished KLEENEX logo painted on the back. Large rolls of toilet paper fill it, all tied together with raffia string.

INT. BLACK VAN – NIGHT

Within the van we see Krebs and a figure in shadow. More accurately, we see the figure's hand. It is gesturing to the van and Bond's car. It balls up into a fist and suddenly the fingers spread open. Krebs nods. He winds down the windscreen, and pulls a grenade from his pocket.

He pulls the pin out, and flings it forward.

EXT. STREETS OF NAMUR – NIGHT

In a slow-motion sequence, the grenade makes its way through the air, and bounces of the side of Bond's car. Through the windscreen, we can see that the Virage's occupants are following its path through the air with their eyes. It eventually reaches the Kleenex sign.

The grenade detonates.

The entire back panel of the truck blows open, and fire spreads to the raffia, burning right through. Powered by momentum, without anything to restrain them, roll upon roll upon roll of burning toilet paper tumbles forth – straight onto Bond's car.

INT. ASTON MARTIN VIRAGE – NIGHT

Bond hits the brake with the full force of his foot. His eyes go wild, and his mouth forms in the shape of a silent scream. Connie doesn't bother with the 'silent' bit.

CONNIE

_AAAAAHHHHHHHHH!_

EXT. STREETS OF NAMUR – NIGHT

The Virage brakes, but to no avail. Several rolls force their way under the spinning wheels, and the paper piles up under the wheels. The nose of the Virage goes full tilt, and the shafts its headlights curve up, briefly piercing the night sky.

They whirl away as the car rolls once. Twice. Thrice. On the fourth time, it lands, the front a flaming wreck. The vans stop abruptly, stopping next to the burning car.

**FADE TO BLACK.**

**FADE IN:**

INT. BASEMENT – NIGHT

All is black. Then, a voice is heard.

KREBS

Wake up.

The world slowly fades in from black comes back into focus. Krebs' face fills half of it. The quarters on either side show that Bond is in a badly-lit, dirty basement. Some figures stand in shadow. However, focus is soon lost.

KREBS

Wake up!

We're shocked back into focus, and Krebs edges away. The basement is fully revealed, and a small set of stairs leads to an open door. We now see that there is a large figure in shadows behind Krebs – one and the same as the elusive conspirator, seen in the room and at the Medieval Games. Bond has met the face of evil.

BOND

(breathlessly)

Where am I?

FIGURE

You're in Hell, Mr. Bond. Or at least you'll wish you were.

BOND

(angrily)

Who are you?

The figure takes a step forward out of the shadow, but before we can see him, we see Bond's face in close-up.

BOND

(in total shock)

No!

FIGURE

(off-screen)

Yes.

We now see the figure in full. He wears a stained white dinner jacket with a white shirt inside. His face is covered by scars – a veritable twisted Colonel Sanders. A device resembling a tape recorder is brought down from his mouth, which has a thick cigar in it. Bond announces that the figure is:

BOND

Hugo Morton?

HUGO

One and the same, Mr. Bond.

BOND

But…your voice…

Hugo raises the voice modulator up again.

HUGO

A voice modulator: much like a microphone and speaker combined, changing the pitch of my voice. Rather effective…

(in the voice of the figure)

…wouldn't you say?

Bond can only look up in horror and awe at the combined madness and genius of Hugo Morton.

HUGO

But enough about me. You've been brought here, such that we can learn your purpose here.

BOND

It's the same as the one I've told you.

HUGO

Observe your situation, Mr. Bond. You are bound to a furnace in the basement of one of my…other holdings.

We zoom out and see that he is right. Bond's four limbs are strapped with twine to an ancient furnace, with the coal door open. Some stairs to his left are the only egress.

HUGO

This building is located in the largest slum of Charleroi. There is nowhere to run. You will talk, or the flames will convince you to. Now, _who are you?_

BOND

Major James Bond, British Army, transferred to UNO-

Hugo snaps his fingers. Krebs scoops and throws several coals into the fire. It blazes violently.

BOND

AAARRGGGHHH!

HUGO

Who-are-you?

BOND

UNOC, fought in Congo and promoted in–

Hugo nods. More coals. More flame.

BOND

(again)

AAARRRGGGGHHH!

HUGO

Come now, Mr. Bond. Such steadfastness will yield naught. I know that you refer to yourself as a certain 007, and you've been contacting Century House…the main base of the British Secret Service.

Bond's eyes go wild. This is unforeseen. He looks around the room, as if a solution can be found within the shadows.

BOND

(shock)

No!…How?

HUGO

You must have thought yourself pretty ingenious: covering all the bugs in your room, and deafening my technicians with a radio right next to the last one. But you see, I was even smarter.

Marica Fortunata, wearing a short dress, walks down the stairs, and stands square with Hugo.

MARICA

(taunting)

Hello, Bond darling. Remember that night in your room?

HUGO

I just sent her to go put another bug in! You never suspected, Mr. Bond. You've been played like a fool all along. And you'll now pay the price for your asininity. Marica?

Marica takes a syringe from her dress, and wipes the point of the needle with the skirt bit. She stabs Bond in the arm with it, and presses the plunger, forcing the liquid within into his bloodstream. Bond grits his teeth and blinks in pain. Vision blurs for a while, and voices turn weird and slurry.

HUGO

A careful concentration of ionized sodium pentothal, designed to work through such preconditioning. I'm not a chemical magnate for nothing, Mr. Bond.

Marica leans to Bond and starts whispering into his ear.

MARICA

This is what I was talking about, Bond. You could've just been a good boy. Now, between this and the furnace, there won't be enough of you to salvage…if anyone finds you.

She moves aside, and fades back into the shadows. Hugo steps forth, and meets Bond's eye level. The two adversaries stare each other in the eye, Bond's head wavering as the soap takes its effect. Bond grins stupidly at Hugo.

HUGO

Excellent, Marica.

(to Bond)

Now, Mr. Bond, why don't you tell me who you are? We're all itching to know, aren't we?

BOND

(drawling)

Major…Major…Commander James Bond, RNVR…Her Majesty's Secret Service.

HUGO

Your mission, Commander?

BOND

Find…mole in Morton Chemicals…causing security breaches.

Hugo bursts into maniacal laughter. When he regains composure, he turns to talk to Bond again.

HUGO

You were so obsessed looking for the small mole, Mr. Bond…so you never bothered to look up to see the giant _rat!_ I've been in charge since the start of your 'employment'. You helped further my ends…the British Secret Service doing _my_ job for _me_ – ah ha ha ha ha!

Bond looks up, trying to focus.

BOND

Which ends?

HUGO

Ah, now, that would be telling, Mr. Bond! In the event that this conversation gets past these walls, it would be so very inconvenient if someone found out.

Bond racks his memory, trying to remember snippets of the conversation between Hugo and Franco.

BOND

West Norfolk…100,000 people…gelatine…Fashion show.

Hugo is surprised for once. He reels back, fumbling with a cigar.

HUGO

(pointedly)

_How did you overhear that?_

BOND

Bug…in _your_ room. Never suspected a thing…asinine…

Hugo flies into a rage. He shoves Krebs aside and throws more coal into the furnace, and jerks a valve open. The fire blazes almost out of control, and singes Hugo's hand – to say nothing of Bond.

BOND

AAAAAARRRRRGGGGGHHH! AAAGGHHHH!

Hugo, breathing hard, picks up a hip flask and gulps its contents down, dribbling over his shirt. He puts the flask down, and wipes his mouth. He slowly calms down, and turns to face Bond again.

HUGO

Well, then there's no point trying. If you've heard as much as I think you have…perhaps I'd put it in vague terms. No use in extra risk, eh?

Bond is in too much pain to talk. Hugo finds a chair in the basement, and dusts it off. He takes a seat, and takes out a new cigar, blowing the smoke in Bond's face.

HUGO

Well, Mr. Bond, do you recall the last few chemical incidents? Buckenham Tofts, especially?

Bond nods his head slowly. His eyes flicker open and closed.

HUGO

In essence, those will be replicated: to a degree far beyond those of those little dress rehearsals. There will be twenty times more deaths than Chernobyl, and the soil will be so contaminated that no crops will grow for a hundred years.

Hugo takes a swig from his flask. Finding it is empty, he drops it.

HUGO

This will be achieved through several teams being, shall we say… "accidentally" let in by security. They will proceed to dump highly reactive, ionized chemical compounds into the mix. Fluoride and caesium especially. Once that happens…

Hugo dramatically brings his hands together. A deafening clap echoes through the basement.

HUGO

It will be the _magnum opus_ of manmade disasters; utter chemical plant failure. Total sterilization.

Bond gapes in horror. Morton has just proven himself a maniacal mass murderer.

BOND

Good god…why?

HUGO

Following this…catastrophe, the governments of the world will have no choice but to entirely shut down the chemicals trade, deeming it too unsafe to continue. Then, I will have succeeded.

BOND

But won't you be ruining your _own_ trade? And what happens when they trace this to you?

HUGO

Please, Mr. Bond. It is not yours to worry about such matters. To answer the second:

He raises the voice masking device once more.

HUGO

At any rate, all commands will be relayed from a mobile base. The governments of the world cannot destroy which that they cannot catch. My plan is foolproof. And as for the first…

Hugo's expression turns from gloating to wistful. He stubs his cigar out on the arm of the chair and sits back in it.

HUGO

Well, I suppose it's only fair to tell you. It all began many years ago, back when the Vietnam War was not old memory, but harsh reality. There I was, Hugo Morton, son of Anthony Morton, the entrepreneur. "Rich man's son" was what they called me. I resented that title. It made me out to be a mere leech, feeding off my father's resources.

So, like many idealistic young fools of my age, I joined the army, to serve in Vietnam.

Hugo looks up at Bond, now looking rueful.

HUGO

It was the worst decision I ever made. Within weeks of my foolish choice, I had lost all faith in humanity. Simultaneously, I had seen the new nature of war. Smaller groups, harder to track, harder to smash, were winning. All the governments in the world couldn't stop them even if they wanted to.

However, my thoughts on the subject were soon interrupted. You see, in 1971…or 1972…my memory fails me – I was leading a small squadron near Quang Tri and we were camping in the night when we heard the drones of aircraft. We instinctively ducked, waiting for the barrage of missiles or machine-guns.

Hugo is infatuated into his own story, and draws on his cigar unhurriedly. Bond, too, now has a deeper interest into Hugo's motivations, and listens closely.

HUGO

But there were none. What followed was far worse. A miscommunication between our troop and the USAF meant that Agent Orange had been dumped on us. It came in such copious amounts, we could hardly breathe. Worse yet, we had a fire going.

I can hardly remember anything of the ensuing conflagration, but what I can recall were the most horrible and torturous minutes of my life. The screams of my comrades will fill my ears forever.

As he speaks, we get a look at the fire crackling behind Bond's back. It roars like a thing alive.

HUGO

Thankfully for me, I lapsed into unconsciousness right after that. When I awoke, it was in a military hospital back in Australia – my detachment had pulled out of the Vietnam War by then. I was told that I was the only survivor of the incident and that I was just fine and going to walk again. Then they passed me a mirror.

Before I had seen my own reflection, the looks from the doctors and nurses told me that not all was right. What I saw was far worse. My face had been scarred from the fire, leaving jagged lines on my cheek and jaw. Worse yet, they were permanent.

Then the second part of the bad news came: upon hearing that I was missing in Vietnam, my beloved father, Anthony Morton had suffered a heart attack.

A tear forms from Hugo's eye. He dabs it away with a handkerchief.

HUGO

Then some lawyers walked in. They said that they were very sad about it, happens to the best of us. Then they told me the punchline of this macabre joke: I, his only son, had inherited Morton Chemicals Co. and all its assets.

The thing that gave me half a face, the thing that killed by squadron, the thing that ruined my life – now I had it all! It was the greatest irony. The one thing that I hated…I had inherited.

My stay in hospital allowed me to clear my thoughts some. Chemicals were responsible for my fate. Thus I swore to rid myself of the filthy business forever, maybe give it to some shareholder. Then I stopped myself. What if I could change it from the _inside?_ I realised that this wasn't such a bad idea after all.

Hugo draws from his cigar. The fire behind Bond has died down some.

HUGO

Such that it was that when I was discharged, I almost immediately took the reins of Morton Chemicals and tried to put my new policies into place. However, harsh reality struck again. Nobody agreed with me.

Profits would go down, some said. "Economically unviable" even. Would-be partners slowly moved away. Magazines called me the most inept CEO in years. Fools. All of them were fools. I thought back to my ideas in the hospital. If the industry could not be saved, it would have to be destroyed.

Hugo sits back up in his chair. He is no longer wistful nor is he rueful. A determined look is on his face.

HUGO

But first, I had to make sure I'd have the largest impact. I pushed forward with Morton Chemicals, building bigger and bigger plants. Nothing stood in my way. They were so easy to manipulate – just like the fools at Blades, I suppose.

When I had to mix with the "high society" I couldn't play blackjack or even baccarat: I had to play bridge, the game of the refined. I dominated my will over would-be opponents and rivals by trouncing them again and again. It's become a bit of an addiction, I fear.

But that is unimportant! What I have explained to you, Mr. Bond is the culmination of a decade's worth of planning. When the six chemical plants are destroyed, it will broadcast a message that no ordinary means ever will.

The quivering governments of the world will bow down to the lobbyists and the protestors in their nations. No country will continue with the chemical trade. Then I will have won. My comrades' deaths will have been avenged. _I _will have been avenged.

Several moments pass with no sound. Hugo and Bond look at each other. Krebs paces around in the background, picking up random paraphernalia, even poking around in Bond's jacket, which is hanging on another chair.

HUGO

Well? What did you think of my story? Or are you giving me the silent treatment, Mr. Bond?

(sinisterly)

Or perhaps I should loosen your tongue…?

The charcoal fire sparks and burns behind Bond's back. He stares at the valve switch in fear. He turns back to face Hugo.

BOND

I'll say this much: your ideas are insane. It'll never work. Some of that Agent Orange must have leaked into your head, Hugo; no normal man would ever even begin to conceptualise such a mad plan.

HUGO

Throughout history there have been men of great vision. And throughout history there have been those who doubted them.

BOND

And throughout history there have been asylums for those who subscribe to your words.

HUGO

(peeved)

And so what if I am mad? So was Frederick the Great, so was Nietzsche, and so was Van Gogh. I am in illustrious company, Mr. Bond. On the other hand, what are you? A common thug. Having done what you have done in the name of patriotism, you satisfy your needs with alcohol, nicotine and sex before you go out on your next foray.

BOND

At least I won't be a mass murderer. You'll be killing hundreds upon thousands, and condemning maybe even millions more to the horrors of chemical poisoning, or homelessness, or their loss of livelihood. You'll be as evil as those whom you want to stop.

HUGO

No! Never! I am no psychopathic murderer, only a cynic, tired of an apathetic world unwilling to change itself, and must take matters into his own hands. This conversation is over, Mr. Bond. Nothing you say will dissuade me. Goodbye. I leave you to a slow and painful death. Enjoy what remains of your life.

Hugo and some goons head up the stairs to the exit. Krebs starts following him.

HUGO

Krebs, you stay to watch him. You may leave once he has breathed his last.

KREBS

But sir…

HUGO

_Stay_, Krebs.

Hugo leaves. There is no more to be said. Krebs draws the chair up, and faces Bond.

KREBS

I've got half a mind to release you just so we can get a rematch. But it wouldn't be fair now, right?

Despite his every instinct not to do so, Bond must get a witty comeback in.

BOND

Yes, because I'd still beat you.

Krebs is incensed. He unleashes a volley of blows on Bond's chest, and gets one in on his nose, causing a mighty nosebleed.

KREBS

You're a glutton for punishment, you know that, Bond?

There is no further dialogue between the two. Slow minutes pass, with Bond getting more and more tired, even to the point of giving in. Krebs isn't looking so good either. Bond looks around the room. The situation seems entirely hopeless…not entirely. He notices his jacket hanging from the chair. A plan starts to formulate.

BOND

How about a cigarette?

Krebs turns around suddenly, Bond's question coming out of the blue.

KREBS

Not a chance.

BOND

What if it's one of my own?

Krebs thinks for a while.

KREBS

Where are they?

BOND

My jacket.

Krebs turns to the jacket, which is more than worn out due to the crash, and starts looking inside.

BOND

Outside…left pocket. No, right pocket.

Krebs withdraws the Lark packet of cigarettes. These aren't Bond's regular cigarettes. He takes one out and stuffs the filter end into Bond's mouth. Krebs then takes a cheap matchbook (decorated with a lewd image) from his pocket.

The cigarette is lighted and Krebs turns to keep the jacket. Then a hissing sound emanates from the cigarette. Hissing? Krebs turns – and Bond spits the explosive charge in his face. It explodes just as it reaches Krebs' nose.

Krebs collapses to the floor, dead. His face is a bloody mess. Bond is about to be violently sick.

Krebs is dead. But Bond's still stuck to the furnace. He looks at his bonds. They've been tied with hemp and not chains. He braces himself against the furnace, painful as it is, and starts straining his right wrist against the rope.

He pushes. It budges ever so slightly. He pushes again. Sinew and hemp strain against each other in a titanic struggle. Neither of them yields very much, but the continual effort takes its toll on Bond's wrist. Rope burn becomes evident. A trail of blood starts forming on it. Then, just as all seems lost, the rope rips and shatters, and Bond wrist flies forward in freedom.

Bond grabs the rope on his left wrist and tears it out. With nothing holding his upper body up, he falls forward and lands. Painfully. He looks up and only sees what's left of Krebs' face. With great effort, he frees his feet. He stands up slowly, but steadily, and heads to the stairs and up the door to the outside world.

The door – is locked. With a guttural scream of rage, Bond flings himself against the door again and again. The lock breaks, and he lunges through. The world is unsteady, and keeps fading in and out. Bond is undergoing ultimate fatigue, but he takes step after step. He must not fail. He must tell the world of Hugo's insane plot.

The main door is thankfully unlocked. Bond staggers through it.

EXT. STREETS OF CHARLEROI – NIGHT

The streets outside are as dark as when Bond saw them during his escape. Bright lights illuminate small spots of an otherwise overcast city. One, however, is significant, standing over all the rest in a triumphant gesture. A cross is lighted in read. A hospital.

Bond dashes across the street, ripped and torn shirt flailing as he runs. A car nearly runs into him. Its horn goes unnoticed by Bond as he makes his way. Bond comes across a couple. They reel at his bruised and broken appearance.

BOND

Help…me…

They only respond by stepping away, then breaking into a run. A path is cleared in the streets for this staggering and injured man. Before long, his legs fail him, and he braces himself against the walls of the nearby buildings.

Suddenly, a gang steps out from the shadows, armed with chains and whatnot.

GANGSTER #1

_Donnez-nous votre fatigué, vos pauvres…_

(Give us your tired, your poor…)

GANGSTER #2

…_et livrez-leur argent comptant nous!_

(…and deliver their cash to us!)

Right after they declare their motto, Bond charges into the gang, bowling over the one with the chain. He uses it to whip the ankles of the rest, causing a lot of pain. One who was out of range leaps at him with a knife. Bond rolls and shatters two of his ribs with a last-ditch kick. With the gang lying in pain or running off, Bond struggles forward.

Just about when he is about to give up, he looks up. He has succeeded. The hospital stands before him, beckoning.

INT. HOSPITAL – NIGHT

With one last vestige of strength, the doors burst open, and he takes step by painful step to the counter. The receptionist is taking a call, with her back turned. She's oblivious of the hubbub in the reception.

BOND

I'd…like…to see…a doctor.

RECEPTIONIST

We're very busy tonight. Could you call tomorrow?

BOND

Oh, sure, I'll…just do…that…

He collapses on the counter as the receptionist suddenly turns around and screams. The score of burns on Bond's back is visible for the first time. Calls go out for paramedics. Chaos ensues in the reception. Bond is beyond seeing and hearing all this as he falls into unconsciousness.

**FADE TO BLACK.**

**FADE IN:**

INT. HOSPITAL WARD – DAY

The world swirls back into focus. We see the scene from Bond's POV. He lies in a hospital room. The walls are a stark white. Machines hum and buzz to his left. Curtained windows cover the wall adjoining them. The only egress is forwards of him, and then to his right. A large cabinet lies next to the door. Before he has time to examine the room further, heavy footsteps sound down the hall. It's a doctor.

DOCTOR

Good morning, Mr. Bond.

BOND

Where am I?

DOCTOR

You're in the central hospital of Charleroi, Mr. Bond. Try not to exert yourself, please. You've survived some burns and trauma, but-

BOND

My name. How did you know it?

DOCTOR

Some relations of your identified you. Now, as I was saying, you must ensure that you don't exert yourself too much, considering what you've been through. Additionally…

A nurse walks up to the doctor and passes him a note to the doctor. He reads it, narrowing his eyes to focus on the small script. He puts the note away and turns to face Bond again.

DOCTOR

It says here that you've got visitors in a couple of minutes.

BOND

Who?

DOCTOR

Well, there's one businessman, his…secretary, and some other men. Why?

Bond sinks backward and his eyes widen a bit. Surely it can't be Hugo and company back here to finish him off? The sound of footsteps draws closer with each second, and a hand pulls the doctor away from the doorway. The figures start becoming visible. Bond searches the area around him. A lone scalpel lies on a surgical tray. Accepting it as fate, he secrets it under the bedsheet. The figures step through the doorway, and…

M

Good afternoon, Bond.

Instead of Hugo, Marica and Co., there instead stand M, Moneypenny and Thomas Stuart, 002. M and 002 are dressed in business suits, and Moneypenny wears a blue shirt and skirt. Other MI6 staffs are behind them, but they aren't as visible. Bond lets out a sigh of relief.

We see that bandages cover Bond's back and right shoulder, and some of his face is also bandaged. M takes up the chair next to the bed, and Bond replaces the scalpel.

M

What's happened, 007? I thought we posted you in Namur. What's this about gallivanting in Charleroi?

BOND

Sir, Morton's the man we're looking for.

M pauses.

M

What?

BOND

He intends to blow up six chemical plants. Massive destruction. It'd be Chernobyl. But a thousand times worse. One in West Norfolk. Tell our brothers across the lake. We've got to stop him, sir!

He tries to get out of the bed, but 002 and M restrain him.

M

You're not getting out of that bed, 007. We'll do as you recommend, but you'll have to stay here until you rest. That's an order. The doctor says you'll be fine in a few days.

As he says this, he gestures at the calendar hung on the dresser. Bond seems to remember something.

BOND

Sir, what day is it?

M

Sunday. Why…?

Memories flood back to Bond in an instant. Half-remembered details begin to surface –

BOND

They'll kill her! Franco will kill her!

M

What're you talking about, 007? Franco? Franco Kilgore?

BOND

Morton's arranging for Franco to kill Connie Webb – a scientist – during the fashion parade this afternoon. With a gelatine capsule. "Absolutely untraceable" – those were the words.

M

We'll set up a cordon, if what you say is right. But do you have any evidence against Hugo? We can't blindly run into this half-cocked, 007…

BOND

The recording device…destroyed in the crash…

M says nothing. Nothing more need be said. But 007 knows that something must be done.

BOND

It doesn't matter a damn to you if an innocent woman dies – if a hundred thousand innocent men or women die at Hugo's hands…strangled by red tape? We have to stop him, sir. We must.

M

Not in this way, 007. We'll do what we can, but without official authorization, I wouldn't get my hopes up.

(to 002)

Stuart. Ensure he doesn't leave.

(to Moneypenny)

Come on. There's business that we have to attend to in Rheims.

MONEYPENNY

With all due respect, sir…

M lets out an exasperated sigh.

M

Very well. But join me at Station S in five hours' time.

With that, M leaves. 002 leaves the room, and paces around the corridor. Moneypenny sits next to Bond.

MONEYPENNY

James-

BOND

Moneypenny, we don't have much time. But you have to help me. I can't let her die. I can't let anyone die because of me. I've got to stop Franco.

Moneypenny and Bond look at each other. She's conflicted between her duty and Bond. Moments pass, until:

MONEYPENNY

Okay.

She sits next to him while he whispers his plan to her. We pan to a clock outside the room. The time reads 12:45. Slowly it passes and it reaches 1:21 pm. 002 enters through the doorway. The bed sheets lie on the bed, covering the figure inside. Moneypenny is sleeping in the chair next to the bed. 002 walks up to her.

002

Hey, wake up.

She exits her slumber, straightening out her hair and dress and looks up at 002.

002

(looks at bed)

So, he finally fell asleep, huh?

MONEYPENNY

I guess I must have dropped off around the same time as him.

002

Well, I was just going to ask if you wanted some tea…

(looks at bed)

Hmm. He can't be very comfortable under all those-

002's expression changes from jovialness to horror. With a look of realization, he whips the sheet off. He only sees a pile of pillows, seemingly mocking him. Bond has escaped. The curtain blows, revealing an open window. Moneypenny gets up as he heads to look at it.

002

That idiot! _That bloody idiot!_

He draws his weapon, a Browning Hi-Power, and starts to step out of the window. Simultaneously, Bond quietly exits the dresser, in shirt, pants and jacket. He winks at Moneypenny, who winks back at him. Bond heads out of the doorway as 002 hurriedly searches the balcony.

EXT. HOSPITAL – DAY

Bond bursts out of the door and searches around with his eyes. There appears to be nothing suspicious; just people wandering around town, buildings at crossroads – the typical urban jungle. A fawn Opel Kadett – a taxi – conveniently comes zooming down the road. Bond waves out his arm and it comes to a halt next to him.

BOND

I need a lift to Antwerp.

CAB DRIVER

I am sorry, sir, this taxi is strictly domestic-

Bond suddenly throws the driver out of the car. Bewildered, the driver tries to get up, but Bond runs past him into the waiting taxi. With a roar of engines, he heads north, leaving the driver shouting French obscenities at him.

EXT. HOSPITAL BALCONY – DAY

002 is on the roof when he sees this tableau unfold.

002

What the-? Oh, no!

With a look of shock, he runs back into the ward and hurriedly starts dialling on his handphone.

EXT. ROADS OF BELGIUM – DAY

The Opel Kadett exits the city and drives into the country, going along smoothly, with Bond checking landmarks along the way. He's driving as fast as possible…or at least as traffic will allow. Weaving into and out of the E411, there is only determination in his eyes as he races to the fashion parade.

INT. ANTWERP FASHION PARADE – DAY

The fashion parade is a large event. It's being held in an open-air courtyard, with a tower overlooking all the events. Surrounding the central quadrangle are a perimeter pillars. The second floor is also open-air, leaving the sun to cast light on the proceedings.

At the front is a large rectangular stage extending towards the participants. Models bearing the latest styles step forth and then return behind the curtains. The white tables neatly contrast against the green grass. They are surrounded by fashionistas and designers. At the largest is Hugo, in a white tuxedo, with Marica on his left and Connie on his right.

Marica wears a largely red dress, with black "flames" across it. Connie wears a simple blue dress. She worriedly looks around, knowing that she is in danger of some sort. Guards ahead, behind, and to her right and left prove no chance of escape. She resignedly sits back in her chair and pours herself more red wine.

INT. ANTWERP TOWER – DAY

Franco stands in the tower, overlooking the proceedings. He continually checks his cheap watch. A few seconds later, he turns to his duffle bag and takes out a wide, long aluminium tube. He unscrews the top, and smoke seeps out. From within, there are several pieces of tubing and some scaffolding.

He carefully screws the pieces together, making a precision rifle piece by piece. He looks through the window again. Connie Webb is in plain sight. A view to a kill, as it were.

EXT. ANTWERP VILLA – DAY

An empty fawn Opel Kadett is parked outside these proceedings. Bond walks along the walls. A bodyguard in shades appears around the corner. Taking no chances, he dodges behind a pillar. The guard briskly marches past Bond, not noticing him.

Bond slowly makes progress towards the main entrance of the fashion parade. He glimpses Connie Webb, and looks around for where a sniper might be. Then he looks up. The tower. With a look of realization, he hurries there, evading guards along the way.

INT. ANTWERP TOWER – DAY

Franco positions the rifle through the window and sees the fashion parade through the scope. He moves it down. Connie Webb is right in his sights. His finger tightens around the trigger, ready to strike.

Suddenly, from out of nowhere, a scalpel sails through the air. With a thud it embeds itself in Franco's left arm. The rifle jolts and fires.

INT. ANTWERP FASHION PARADE – DAY

Hugo is raising a glass for a toast. Suddenly, Marica falters, and falls forth onto the table, tipping over the bottle of wine. It spills everywhere: on the table, onto her red dress, over Hugo's clothes – and his hands. People start panicking, and edge away from the grim tableau.

Hugo merely stares at his hands, covered in blood-red wine. He flashes a glance at Connie, then stares intently at the tower, fists curled into balls of rage.

INT. ANTWERP TOWER – DAY

Franco gazes out of the window, managing to see a bit of the chaos below. He turns around – and sees James Bond, standing in the doorway, in a fighting posture.

FRANCO

Damn! I hit the wrong woman! You'll pay for this-

BOND

I don't think so.

Franco holds the gun up to Bond's eye and smirks. Bond then simply grabs the barrel of the rifle and pulls it left of his shoulder as it fires, and lays a punch into Franco's face. He proceeds to pull the rifle entirely out of Franco's hands, and strikes him in the cheek with the butt of the rifle. Franco falls backwards and has to lean on the wall.

With a jolt of pain, Franco pulls the scalpel out of his left arm, and slashes madly towards Bond. It slices a small corner of his jacket, but otherwise Bond dodges the knife as it swings. Infuriated, Franco tries stabbing Bond with it. It only hits the wall behind Bond and snaps.

Bond kicks Franco in the chest. Franco staggers backwards. He takes a brief look out of the window – and jumps.

INT. ANTWERP TOWER – DAY

We see that Franco merely dropped down to the ledge of the window below. Bond pokes his head out and observes the same thing. In a deft move, Franco takes a leap to the window to his right – and succeeds. He quickly scrambles through the window back into the tower. Bond goes back in and gives chase.

INT. ANTWERP TOWER – DAY

From a top-down view of the staircase, we can see that Bond is barely keeping Franco in view, but still managing to keep up the chase. Before long, both of them are on the ground floor. Franco slams into the door as he escapes. Bond chases him through the broken entrance.

EXT. ANTWERP VILLA – DAY

Bond bursts into a crossroads, with the path diverging left and right. Footsteps seem to emanate from the right path. Putting faith in his hearing, Bond heads right. Sure enough, he catches a glimpse of Franco's pants as he rounds a corner. Bond is just about to go round it when-

_**BLAM BAM BLAM BAM BLAM**_

Gunshots ring out, and Franco's twitching bullet-ridden corpse falls onto the ground into Bond's range of view. He quickly doubles back and turns – only to see Hugo's entourage. Hugo's face is a mask of rage, the sheer seething anger almost about to burst out at any moment. His jacket is still covered in the blood-red wine. One of his bodyguards is brusquely holding Connie by her upper arm.

HUGO

Mr. Bond. I should have suspected your hand in this. So you did get Franco for me. A pity. You could have earned your keep. But oh well.

Bond opens his mouth to speak, but Hugo cuts him off.

HUGO

Since you have been ever so persistent in wanting to know what Operation _Risico_ is about, you will get your wish. You and Miss Webb. I assure you front-row seats to the greatest spectacle on the surface of this Earth.

(beat)

Come.

An assault rifle pressed into Bond's spine tells him that any other option is impossible. Like lambs to the slaughter, Bond and Connie march forth to their fate.

EXT. ANTWERP FIELD – DAY

A military Mil Mi-24 "Hind" helicopter, greyish-black and with the Morton Chemicals Co. symbol painted on it is visible in the middle of the large green field. The villa is behind the main group already, growing smaller with each step. Hugo steps into the front passenger seat. His goons surround Connie and Bond.

GOON

On board.

Bond and Connie drag their feet. The goon jabs Bond with the rifle.

GOON

Now!

Bond swings around and the goon raises his gun.

HUGO

Stop! We wouldn't want them to come to any harm yet, _would_ we now?

His grunts grunt in agreement. Bond and Connie are loaded up into the helicopter, along with some goons. The door slams closed, killing all hope of escape. Guns lie half-raised, enough for the rifle-bearers to rest a bit, but by no means relax their guard. With a thunderous roar of engines, the helicopter rises into the air – where to, only Hugo knows.

EXT. HUGO'S TRAIN – DAY

The helicopter lands on a special pad on one of the carriages of Hugo's train. The train is a giant iron behemoth: a relic from the days of railroad artillery and combat, with armour plating covering nearly every carriage. The engine is in the shape of an enormous wedge, charging forth with each churning of the diesel engine.

Hugo steps out first, and then Bond and Connie, restrained by goons. Miscellaneous characters step into the carriage behind. The door of the carriage next to the helipad slides open, revealing Nan and Bartsch. Nan wears a tank top and pants. Bartsch is wearing a ruffled jacket over a T-shirt and jeans. Bartsch offers a pseudo-military salute at Hugo. Hugo returns it as the group moves into the carriage.

INT. HUGO'S TRAIN – DAY

BARTSCH

Hello, boss. All is in readiness.

HUGO

Excellent. Nan, follow me to the communications room. Escort Bond. And Bartsch…

BARTSCH

Yes, chief?

HUGO

Do with Ms. Webb what you will.

Bartsch's oily smile spreads from cheek to cheek as he grabs Connie's arm. Her expression changes from tenseness to horror as she fully realises the implications that this statement has. She silently begs her pleas as Bartsch begins dragging her away, laughing. Bond breaks free of the goon's grip and just about leaps at Bartsch.

BOND

You MONSTER-

Before he can finish, he is struck savagely from behind by the butt of a goon's rifle. His knees buckle, but he is dragged upwards by Nan. Hugo gestures at her to follow, and she pushes Bond forward, holding his arm painfully behind his back. They start the long walk down the passageways of Hugo's train.

The train is as impressive and mechanical as the outside: computer terminals, radio installations and cathode-ray screen cover the interior wall to wall. The doors are tarnished gunmetal. Some technos are visible at the terminals, rapidly typing data into it. After a good two to three carriages, they eventually pass a guard, who opens a locked door to the next carriage.

INT. HUGO'S TRAIN (BOND'S CARRAIGE) – DAY

The carriage is utterly undecorated. A bad lies to the left side of it, covered in a dirty brown bedsheet. Nan pushes Bond to the bed. Before he can react he lands violently on it. His right wrist is quickly handcuffed to the bedpost. Hugo and Nan stand over him, overshadowing him in triumph.

HUGO

Did I say front row seats? Perhaps I meant the bleachers. Whatever the case, when this base is disposed of, you will be too. Farewell, Mr. Bond. If we never meet again, it will be far too soon.

Laughing maniacally, Hugo leaves the carriage through the far end while Nan follows, the guard locking the door behind him.

INT. HUGO'S TRAIN (COMMUNICATION ROOM) – DAY

Hugo moves into the carriage. The right side is relatively empty, with a window facing the country side. Over one of the windows is a marked map of Belgium. A quick look at it reveals the path of the train: it's going on a railroad line leading to the coast. The left, though, is filled with computers and radio equipment. Two technicians sit there, tweaking communications. Upon seeing Hugo, they get up and offer a salute. Hugo returns it and goes up to one of the technicians.

HUGO

Bartsch tells me that all is ready. Is this accurate?

TECH 1

Yes - yes, sir.

HUGO

Excellent.

He takes Tech 1's seat, leaving the evicted technician to move to the rightmost terminal. Hugo takes the headphones and slowly puts them on over his ears. Dragging the microphone down, he begins Operation Risico.

HUGO

Initialize radio.

TECH 2

Initializing.

Techs 1 and 2 simultaneously turn two dials. Tech 1 pulls on a red lever.

EXT. HUGO'S TRAIN – DAY

On the surface of another "flatbed" carriage, we see a hemisphere, curved side up. There are two supports holding it around a foot from the floor. Slowly, these supports extend upward, and the entire hemisphere begins rotating until we see that it's an enormous radar dish. From the center, the antenna dramatically extends.

The dish rotates slowly until it faces the rear of the train. It has begun.

INT. HUGO'S TRAIN (BOND'S CARRAIGE) – DAY

Bond lies down on the bed, thinking of how to escape. Faint noises of machinery and Hugo talking can be heard in the background. The lone guard paces around with his submachine guard. Bond suddenly starts a conversation.

BOND

So, how's it like being in a dead-end job with absolutely no financial security?

GOON

Excuse me?

BOND

Think about it. You're a hired gun with no specialised skills whose pay is directly tied to a madman who wants to blow up a few factories for no particular reason than wanton destruction. He's not even going to demand any sort of ransom. And worse yet; if I escape and ruin his plans, that's it. I doubt you'd even leave this train alive.

GOON

What's your point, then?

BOND

Well, none really. But you must've been an enormous idiot if you _willingly_ took this job.

The goon is visibly annoyed. He steps to the bed to take care of this punk.

GOON

I'll make you eat those words-

Bond lashes out with his foot, smacking the goon's chin. The same foot hooks the SMG and it drops it into his waiting hands. Without missing a beat, he drops the guard. Getting up from the bed, Bond reaches for the key and grabs it.

Freeing himself from the bed, Bond checks the safety of the SMG and heads towards the end of the carriage nearer to the source of the ambient noise.

INT. HUGO'S TRAIN (COMMUNICATION ROOM) – DAY

Now that the radio is in place, Hugo takes out the modulator and holds it up to the microphone, using the chair to edge slightly away from the console. He turns a switch on the modulator and slowly and clearly starts giving orders.

HUGO

This is Commander. All units prepare to activate.

The techno to his right twists a dial, and a wave display over a map on a nearby computer screen subtly moves so the path of the wave is over Spain. The right techno gives a 'thumbs up' to the boss. Hugo raises the microphone again.

HUGO

Squad One. Activate. Code word Two-Four-dash-D.

INT. HUGO'S TRAIN – DAY

We now see the following sequence of events through a window in the next cabin, which is filled with computer bits, benches and mercenaries toting sub-machine guns. Hugo's commands can be heard quite clearly in the background.

Four of the goons are playing poker. One of them plays a pair of kings and sevens and the one right next to him trumps it with aces and eights. He is hit in the face for this, and the previous goon has to be restrained.

INT. HUGO'S TRAIN (COMMUNICATION ROOM) – DAY

Moving back from the slapstick, we hear:

HUGO

-Two-Four-Dash-D.

He raises his thumb and little finger at the technician, who responds by adjusting the dial. This time it takes a bit longer than previous iterations, and for good reason. After some fiddling around, the waveform finally crosses the USA – specifically over West Norfolk, Virginia.

Buzzing static gives way to a clear sin wave. Hugo speaks his final orders.

HUGO

Squad Six. Activate. Code word Two-Four-dash-D.

INT. /EXT. VARIOUS CHEMICAL PLANTS – DAY

Drama quickly unfolds all over the world. Within chemical plants in Badajoz, Abernethy, Montceau-les-Mines, Salzlandkreis and Ignalinia, some of the employees can be seen putting down earphones from their ears and gunning down the staff inside.

Others storm the building and begin shooting the security staff with pistols and machine guns. Some even club technicians as they leave their operations rooms and casually march in. Whatever the case, the operation is finished surgically and quickly. The leaders of each team take out their walkie-talkies and confirm their status.

SQUAD LEADER – BADAJOZ

Squad Leader One to Commander. Operation executed.

Elsewhere:

SQUAD LEADER – ABERNETHY

Squad Leader Two to Commander. Operation is executed…

INT. HUGO'S TRAIN (COMMUNICATION ROOM) – DAY

We hear the same transmissions over at Hugo's side, including Three to Five – and then a sudden silence. There is no response from the American team. Hugo waits it out and still nothing happens. Nearly apprehensive, he speaks into the microphone.

HUGO

Squad Six, respond.

A stony silence.

HUGO

(testily)

Squad Six? Respond!

EXT. WEST NORFOLK CHEMICAL PLANT – DAY

A chaotic tableau is playing out. A small group of mercenaries is firing their weapons from behind a truck within the fencing, defending itself against the security forces inside the main building. Bullets ping off the side of the truck, and mercenaries lean by the side to fire. The squad leader is seen picking up his radio receiver.

SQUAD LEADER – WEST NORFOLK

(exasperated)

Uh…this is Squad Leader Six. We've run into a problem…

HUGO

(irate)

Problem?

SQUAD LEADER – WEST NORFOLK

Y…you see, Commander…sir…the security staff must've gotten beefed up. We've got CIA troops right here!

HUGO

(with venom)

_James Bond._

SQUAD LEADER – WEST NORFOLK

Sir?

HUGO

Never mind! – Hold them off to the best of your ability. At least it'll prevent them from going anywhere else.

SQUAD LEADER – WEST NORFOLK

But sir-

A buzz of static is the only answer. The squad leader angrily throws the radio down.

Meanwhile, within the complex, the CIA team is valiantly defending the chemical plant, using XM177 carbines and Taurus pistols. Heading the contingent is a very familiar figure – FELIX LEITER. He's dressed in a dark blue Battle Dress Uniform and a helmet with bulletproof visor. He turns to address his subordinate.

LEITER

Wade! Take one squad and flank them from the left. Double-time!

His subordinate, JACK WADE, raises his visor. He's a somewhat younger man, and a military type. He speaks with a distinct Texan accent.

WADE

Sir, yes, sir!

That said, six or seven CIA crew charge to the left, stopping for cover along the way. The main group steadfastly continues to hold the line.

INT. HUGO'S TRAIN – DAY

We see a carriage a very short distance from Hugo's. Three subdued thugs lie on the floor. Bond uses his rifle to knock the fourth out. He bends down and steals the ammunition from the unconscious four. He slowly approaches the door through to the other carriage. Through it he sees a carriage full of guards, four of them playing cards.

He turns back to the bodies of the other four, and searches for something. That something is a grenade. Grenade in hand, Bond gingerly opens the door, and leans to the left. He deftly pulls the pin, and counts to himself.

BOND

One…two…

With that, it flies past the window of the next carriage, and –

INT. HUGO'S TRAIN (OTHER CARRIAGE) – DAY

The guards are all having a fine time, when suddenly…

_**BADABOOOOOOOM!**_

The grenade blows out half the windows, kills the guard next to it, and blows everyone off their feet. Shocked for an instant, the remaining ones scramble for their weapons.

With a thunderous crash, Bond flings himself through the door, and opens fire. He takes down most of his foes, but a lucky few take cover behind a heavy chair and return fire. Bond dives behind the remainder of the table, pulls out another grenade, and blows them all up.

INT. HUGO'S TRAIN (COMMUNICATION ROOM) – DAY

The whole racket has finally reached Hugo's ears. He slowly takes off the headphones, and gestures to the other techno to do so. The three cautiously head towards the far door.

Suddenly, the corpse of one of the goons flies through the near door, landing squarely on the technician's back, staggering him. Hugo turns towards the door and charges towards it, but Bond violently slams the door in his face, causing a massive nosebleed. Hugo falls backwards, hands cupping the blood leaking from his sinus.

Bond raises the rifle at him. He is not in the mood for any nonsense.

BOND

Hugo. Call them off. Now.

HUGO

Fat luck, Mr. Bond. I and I alone know the code. Touch me and you'll never know what it is.

One of the technicians is trying to sneak out the door. Bond flicks the rifle half a degree and shoots him in the thumb. Blood leaks out of the wound. The techno screams as Bond points the rifle back at Hugo's skull.

BOND

If you don't tell me the code, I will kill you. You had better pray I do it quickly. Tell you what: I'll start with each of your limbs, work to your heart, and finally smash your skull in with the last bullet. If I have bullets left by then. If I run out, I'll just have to leave you here. Start praying, Hugo. Start praying.

The tableau freezes for a good few seconds. We see close-ups of Bond's angry eyes, Hugo's bloodshot ones, and the technician's panicked ones. Finally, the technician loses it. He makes a desperate leap for the rifle.

TECHNICIAN #1

GYAAAAAAAHHH!

Bond pulls off a shot before the technician gets to him. Blood spurts out of Hugo's temple. The rifle clatters to the floor, and Bond and the technician face each other. Without skipping a beat, Bond draws a pistol from his pants band and shoots the technician. He turns to the terrified technician.

BOND

I don't suppose you're as loyal as him?

The technician shakes his head.

BOND

Then get up and help me.

Bond lifts the voice modulator from Hugo's body. The technician painfully scurries to the chair next to Bond, and slowly puts on the headphones.

BOND

Wait. Stop.

The technician complies.

BOND

How did Hugo give his orders? What format did he give his commands in?

TECHNICIAN #2

Uh, he said them as "Squad Number. Activate."

BOND

Did he a code number? A code word?

The technician racks his brain. He tries scratching his head, forgetting his broken thumb. He reels in pain.

BOND

_Well?_

TECHNICIAN #2

Wait! Wait! I remember! Two-Four-Dash-D!

BOND

(puzzled)

Two-Four-Dash-D? did he ever give you any sort of deactivation code?

TECHNICIAN #2

He mentioned one, but he never told us.

Bond stares at the screen and tries to remember any of Hugo's comments that might help enlighten him on the situation.

BOND

Two-Four-Dash-D…24-D…That's it. Agent Orange. The other constituent is…245-T.

(to technician)

Get me in contact with the six stations. In order.

The technician nods, and uses his non-broken hand to twist the dial.

EXT. HUGO'S TRAIN – DAY

We see the same flatbed platform as before, with the satellite dish in an idle position. Suddenly, the satellite dish begins to turn around, this time facing southwest.

INT. HUGO'S TRAIN (COMMUNICATION ROOM) – DAY

Bond raises the modulator to his mouth, adjusting the microphone on the headset so that there's room. The technician nods at him. The video screen clearly shows that the radio signal is now targeted at the Badajoz chemical plant.

BOND

(in the Voice)

Squad One. Deactivate.

A slight pause.

BOND

Code word Two-Four-Five-dash-T.

INT./EXT. VARIOUS CHEMICAL PLANTS – DAY

At the various chemical plants, leaders take their hands down from their earpieces, and with the same clockwork precision and movements, the mercenaries file out of their separate chemical plants. The police outside are utterly bewildered when this happens. Their shock quickly ends as all of them begin to be rounded up without a fight.

EXT. WEST NORFOLK CHEMICAL PLANT – DAY

We see the fierce battle rage from the CIA troops' point of view. Jack Wade's detachment isn't doing much better either. However, there is a sudden hush from the truck. The sound of guns dropping is heard. One by one, the mercenaries file out from behind the truck, hands on their heads. Leiter goes down to the scene.

WADE

What do you suppose happened, chief?

LEITER

I don't know how he did it, Wade, but he just saved all our collective asses.

(pause)

Thanks a lot, chum.

INT. HUGO'S TRAIN (COMMUNICATION ROOM) – DAY

The technician begins to remove the headphones. Bond takes the modulator down and turns to him.

BOND

Wait. I want to make one last call.

The technician looks at him, puzzled.

BOND

Tune me in to frequency 332.6.

The technician nods, and begins twisting the dial. We see the radio frequency count down from 334…333…332.9…332.7…

INT. MI6 OPERATIONS ROOM

The scene shows a large operations room, with a large screen in front showing various images of the Abernethy chemical station, most of them from afar, and there's also a top-down satellite image of the place and a one-mile radius of the area.

Seated in front of the screen around an elliptical desk are M, the head of the Secret Service, Thomas Gerent, the Defence minister, and numerous authority types. M puts down his glasses, and begins talking to the small congregation of military men in the same room.

M

As you can see, the situation currently is delicate. We have determined that-

Suddenly, a dogsbody with a COMMUNICATIONS DEPARTMENT armband enters the room, somewhat excited.

DOGSBODY

Sir! Sorry to interrupt, sir, but someone's coming through over the secure line.

M

(annoyed)

Just patch it in!

A technician at the right end of the table adjusts a dial, and Bond's voice comes loud and clear through the speakers.

BOND

(over radio)

Century, this is James Bond. Threat at chemical plant has been neutralised. Repeat, threat has been neutralised. Have a nice day.

The change in atmosphere in the room is palpable. Beaming, M turns to the congregation.

M

Meeting dismissed, gentlemen.

INT. HUGO'S TRAIN (COMMUNICATION ROOM) – DAY

Triumphant, James Bond takes off the headset. He gets up and turns to the rest of the train.

BOND

And now for _you_, Hugo-

Hugo is missing. There's only a thin trail of blood, leading back through the way Bond came. He's escaped. Bond is obviously not very happy.

BOND

_Damn!_

INT. HUGO'S TRAIN (BARTSCH'S ROOM) – DAY

Elsewhere, Connie isn't faring as well. She's stuck in a darkened room, where the only lighting comes from disturbing scented candles. Connie is tied with rough hemp around her wrists to the bedposts of the spartan aluminium bed she's lying face down in.

Leering over her is a disgustingly sweaty Bartsch. His shirt is slightly open. Connie's dress – amongst other articles – is on the floor. It should be evident by now what's been going on. Connie is on the brink of tears.

BARTSCH

Now, Ms. Webb, it will do you no good to struggle. You have been handed to me by our boss for your incompetence. Time and again you have rebuffed my advances. I will teach you the error of your ways. One stroke at a time.

Bartsch digs somewhere around the room and takes out a paddle. It's even got little spikes on it. He then takes out a salt shaker, and starts sprinkling salt on the paddle. While this is happening, Connie hurriedly tries to loosen her hand from the hemp. It slackens, and her hand slips out. Connie warily looks behind. She's only going to get one opportunity at this.

The paddle comes down. In one move, Connie wheels around and kicks it out of Bartsch's hand, and it falls – straight into her waiting hand. She gets up and smacks Bartsch silly with the paddle, finally swatting his chin with it, knocking the creep out. Connie forces her other hand out of the rope, and gets up.

CONNIE

If I didn't like you earlier on, what made you think that hitting me would be more endearing?

Bartsch lies on the floor, too unconscious to respond. Connie fashions decent attire out of the bed sheets, and cautiously moves forward to the next cabin.

EXT. HUGO'S TRAIN – DAY

We see the large stationary platform with the helicopter on it. Hugo emerges from the next carriage, holding a stained handkerchief over his bleeding nose. He brings it down to give orders to the men lazing about on it.

HUGO

Pilot. Get the helicopter ready. I want to leave within three minutes.

PILOT

Yessir.

With that, he enters the helicopter. The blades of the chopper slowly start to rotate. Hugo turns his attention to a crewman on the same platform.

HUGO

You, go and contact the driver. Tell him to set self-destruction sequence to four minutes.

The crewman nods and heads over to one corner to use his walkie-talkie. At last, Hugo moves his gaze to within the helicopter.

HUGO

_Nan!_

Nan gracefully leaps out of the helicopter. She is wearing fingerless gloves, a tank top, and pants, finally revealing the rest of her lower arm. We now see that her elbow joints have a strange circular plate on them, and wires lead under her skin. This has the effect of making her stronger than most people –faster, even.

HUGO

(gesturing behind himself)

Mr. Bond is bound to be following my trail. Take care of him. Come right back here after you're done.

Nan nods, and heads towards the carriage Hugo originated from. We see that she has a _ninjatō_ strapped on behind her back. The scene centres back on to the crewmember with the walkie-talkie, finished giving the order to self-destruct.

INT. HUGO'S TRAIN (ENGINE ROOM) – DAY

We see the interior of a standard engine room, with ubiquitous control panels, a few meters showing pressure and whatnot – technology in general. The one major difference between this and the standard engine control panel is the presence of a large red button on it.

The engineer presses it, and the Perspex cover of number panel slides into a slot, exposing the buttons. The engineer hits an eight-digit sequence – 04131953. This causes an LED display to light up. It shows a countdown of four minutes – three minutes fifty nine. Doing the smartest thing, the engineer scrambles out of the area.

INT. HUGO'S TRAIN – DAY

Bond is running down the hallways, in fast pursuit of Hugo. We see the trail of destruction caused by him. In his hands is a small assault rifle. Looking through the next few doors, Bond can see the helicopter at last. However, a figure steps in his way.

It is Nan. In a blink, she has unsheathed her _ninjatō_ and wields it in a ready position. Bond sighs, and shoots at her. Using the sword, Nan unconcernedly deflects it. She charges Bond, landing a kick that sends him reeling back. The rifle drops to the floor. While the fights with Krebs were quick and brutal, Nan instead uses smooth, graceful moves – but they're no less effective.

Bond manages duck and weave around the swinging sword, but gets cut once or twice. Before long, he's trapped in a corner, with a computer terminal to his back.

INT. HUGO'S TRAIN (ENGINE ROOM) – DAY

Close up on the timer. It now a bold red **3:15 **and counting**.**

INT. HUGO'S TRAIN – DAY

With a shriek, Nan brings the sword down on him. He barely is able to roll out of the way. The _ninjatō _cuts a giant gash in the terminal, exposing wires which spark violently. Nan has no choice but to let go.

She now attacks with a combination of kung fu kicks and punches. Bond manages to block most of the blows, but Nan scores a hit in his ribs, and pummels the area mercilessly, finishing the combo off by landing a kick in the area, sending Bond flying backwards. Bond lands next to the UMP.

INT. HUGO'S TRAIN (ENGINE ROOM) – DAY

The timer now reads **2:52.**

INT. HUGO'S TRAIN – DAY

As Nan approaches for the kill, Bond scrambles for the gun. He turns around and pulls the trigger. The gun's empty. Before he can do anything, she's pinned his arm down with a boot. Nan grabs Bond's neck and drags his back up to chest level. She gets a good grip on it and begins to twist his neck.

Bond throws Nan forward, breaking the lethal embrace. Bond's gained only a few seconds of time. Before he can react, Nan has him pinned against the sparking terminal. Her fingers start to squeeze the life out of Bond. Bond looks around the room for anything to help. He then spies the exposed metal plate on Nan's elbow.

Gritting his teeth, Bond reaches down into the gored console and drags up an insulated live wire. It slowly burns his hand, but he makes the effort. Slowly but surely, he manages to make it creep up towards the exposed metal. When Nan lets go with the opposite arm to try and stop Bond, Bond turns with all his force, and jams the wire straight into the joint. Nan screams in agony.

NAN

KYAAAAAAAAAAAAAAAAHHH!

Bond releases himself, and shoves Nan's arm further into the terminal. Nan is in agony throughout the entire thing. A few more seconds, and it's over. Smoke rises from the terminal. Resisting the urge to be violently sick, Bond proceeds onwards, with no gun, no plan, and his two fists.

INT. HUGO'S TRAIN (ENGINE ROOM) – DAY

Time to detonation - **2:27…2:26…2:25…**

EXT. HUGO'S TRAIN – DAY

The helicopter seems fully prepared to take off. Hugo periodically looks outside the opening to check whether Nan has returned. His troops aren't as patient, and constantly fiddle with what they have on hand while waiting.

A figure begins to step out of the next carriage. Hugo's face beams. Then, to his horror, James Bond appears. Hugo hurriedly turns to the pilot.

HUGO

Take off! TAKE OFF!

The chopper slowly begins to rise. As it does so, Bond leaps for the right "wing" of the Hind helicopter and manages to hang on. The ground slowly becomes smaller, and the train is akin to a finger wide now. Even as Bond clings to the missile port on the "wing", a trigger happy guard starts shooting. Given the conditions, most of the bullets miss, but some bounce off the metal.

INT. HUGO'S TRAIN (ENGINE ROOM) – DAY

It's now exactly **T minus 1:48**.

EXT. THE SKIES – DAY

Bond tries an insane "monkey-bar" ploy, and leaps for the next and nearest missile port. He doesn't miss. The goons inside all start taking pot-shots at Bond. One grazes past his cheek. It's time to end this. 007 swings back first, then launches himself full force at the door.

The pilot must have seen this coming. Suddenly, the entire Hind helicopter tilts to the right. Bond's not going to make it. His fingers graze the rim of the doorway for an instant. His right hand slips. His left fingers barely grip the rim. One of the guards starts stamping on them.

With great effort, Bond grabs the goon's ankle with his right hand, and pulls the goon right out of the helicopter. The guard plummets all the way down to the helipad.

EXT. HUGO'S TRAIN – DAY

Connie Webb races from the other end of the train onto the helipad. The corpse of the goon lands right in front of her. She screams, and then looks up at the battle raging several dozen feet above the helipad.

INT. HUGO'S TRAIN (ENGINE ROOM) – DAY

The time reads **0:59**. We're into double figures already.

INT. HIND HELICOPTER – DAY

Pulling himself up, Bond manages to swing himself up into the helicopter, and lands on his two feet, back to the door. Two guards remain in the chopper, and both of them get their rifles ready. Hugo sits between them, nervously looking at the whole scene.

BOND

Hugo. It ends now.

A goon steps in front of Hugo, between him and Bond. Bond punches him twice and pushes him out of the doorway. Bond takes another step towards Hugo. The other guard raises his rifle.

CHOPPER GOON

Boss! Head down!

HUGO

Wait! STOP!

Too late. A burst of erratic gunfire explodes from the barrel. It hits Bond in the shoulder, Hugo twice in the chest, and most importantly, once in the pilot's head. The pilot collapses forward straight onto the controls, and his body slumps across the yoke.

EXT. THE SKIES – DAY

The Hind helicopter begins to spin around an axis, with its nose pointing downwards. Worse yet, it's plummeting– straight into the open seas. The propellers begin to spin erratically, and soon it's diving headlong into the open sea.

INT. HUGO'S TRAIN (ENGINE ROOM) – DAY

The clock's ticking is interspersed with flashes of the plummeting helicopter. The countdown reads **7. 6. 5. 4. 3.2.1-**

EXT. THE SEA – DAY

The nose of the helicopter, like a monstrous bird in its death throes, impacts the water. Just then, the self-destruct mechanism of the train activates. Everything explodes.

The entire train tilts to the right, buckles and collapses straight into the open sea. Gasoline rises to the surface and is ignited instantly. Explosions still occur underwater. We see brief flashes of Bond, Hugo and Connie's faces. Corpses are blasted through the surface of the water. Hell on earth has arrived.

After what seems like an eternity, Bond's head emerges from the sea. He gasps for breath and barely finds it. In the far distance, we see Connie Webb hanging on a piece of flotsam for dear life. Bond slowly begins swimming towards her.

Connie seems to silently shout, unable to find her voice. She gesticulates wildly behind Bond. Bond, puzzled, looks behind him – and sees a bruised and bloodied Hugo, with a giant gash on his face where his scars once were. Hugo is paddling madly towards Bond, only seeming to be able to go on through sheer hate.

Despite Bond's best efforts, Hugo manages to grab Bond's foot, and threatens to drag him down. Bond, using slow yet powerful strokes, struggles to get away.

From an underwater view, we see that there is a long cable wrapped around Hugo's leg, with the other end attached to a heavy chassis, slowly dragging him down into the murky sea. Above water, Hugo's grip on Bond's foot is ever tightening. However, after some more effort, Bond breaks free.

With nothing to hold onto, Hugo's head starts sinking under the water level. His mouth starts filling with the filthy seawater, and he gasps for air, spitting water out, but not enough to displace the sheer flood entering his mouth. He gives up, and his head slowly and disappears into the sea. Air bubbles are pulled painfully from his throat. At long last, Hugo Morton is dead.

Elsewhere, Connie Webb is losing her grip on the flotsam. Bond swims quickly towards her, and manages to hold on to her. The two of them slowly make their way to the shore. Sometime later, they are gently brought to the shore by a passing wave. Bond gets up and takes a long look back at the burning sea. It's all over.

INT. M'S OFFICE – NIGHT

We finally return to where the whole business began. However, a large newspaper that M is holding up obstructs most of the scene. The newspaper carries the headline **CORRUPT RUSSIAN GENERAL ARRESTED!,** with the exclamation mark added for emphasis.

M

Well done, 007. Thanks to the KGB…_the FSB_'s help, we've all the loose ends tied up.

Now a front view of M holding the newspaper. He puts it down and takes out his pipe, making a small puff of smoke. He also removes his reading glasses and leaves them on the table.

M

By the way, how's the arm?

We at last see Bond. Half of the top of his skull is wrapped in bandages, and there's a large plaster on his jaw. His right arm is in an ungainly cast, held up by a sling. In all, the battle on the train hasn't left him unscathed – to say the least. He manages to crack a smile, though.

BOND

Well, the doctor says I can start driving today, sir.

M

Mm. Good. Then you can pick up Ms. Webb from our safe house here in London. Oh, and we're giving you two week's leave. Once again, well done, 007.

BOND

Thank…you, sir.

With that, he slowly and painfully gets out of the chair, picking up a solitary crutch leaning on the chair. Balancing his weight on it, he trundles out of the door. M picks up some other papers and begins reading through them.

INT. OUTSIDE M'S OFFICE – NIGHT

Bond takes his slow steps past Moneypenny's desk. She looks up from her paperwork at him.

MONEYPENNY

You know, thinking this all started with a bridge game…

BOND

Well, I'm obviously gambling in the wrong circles.

(beat)

Say, you think poor Thomas ever figured our little stunt in the hospital?

MONEYPENNY

Well, he's got a long time to do so.

BOND

How come?

MONEYPENNY

M just sent him to Siberia for some joint exercise with the FSB.

The two of them burst into laughter. Bond tries his best, despite the bandages surrounding his head.

MONEYPENNY

(laughing)…oh, sorry, that isn't funny.

The two of them still breathe out some laughs. They remain in the room, looking at each other.

EXT. LONDON SAFEHOUSE – NIGHT

Bond's Aston Martin DB5 pulls up along an obscure side-street of London. The entire street in general is dirty and drab. The specific building that Bond pulls up at has a gaudy animated neon sign of a lewd image over the door.

Connie Webb, dressed in a khaki overcoat over a blouse and pants, exits the safe house carrying a large briefcase. Bond reaches over and opens the car door for her.

INT. ASTON MARTIN DB5 – NIGHT

Connie quickly gets in and puts the briefcase on the back seats. She closes the door behind her, and turns to face Bond. Her happiness quickly turns into concern.

CONNIE

James!…What happened to you?

BOND

You should know – you were there!

The two of them share a bit of mumbled laughter. After a while, Bond remembers the road, and turns back to Connie.

BOND

So! Where to? I know this place in Chelsea…

CONNIE

(abruptly)

Heathrow. Please.

The tone in the car has significantly and suddenly shifted. Almost ruefully, Bond starts up the engine, and enters second gear, driving down the roads towards the airport. Several seconds pass in silence, before Bond finds his voice again.

BOND

Well, I understand…he must be worried sick about you back at home.

CONNIE

He?

BOND

You know, the other man. Your engagement ring…?

Connie suddenly breaks into laughter. Bond's expression is puzzled, and a bit confused.

CONNIE

(laughing)…Oh, I'm sorry, James. I never did explain, did I? Well, you see, I thought I'd try to get Bartsch and Krebs to do something other than leer at me lecherously. So I thought up of this plan, and well, started wearing this ring.

She starts fiddling with it, eventually taking it off and putting it in her breast pocket. Bond's curiosity still is piqued, though.

BOND

Then…how come you can't stay?

CONNIE

Well, I got a job offer in Hong Kong…Henry Lee Ching's company. Just because my last employer got blown up and drowned, doesn't mean I should give up, should it? We've all got to get on with our lives, right?

BOND

I guess so.

Bond is clearly more than a bit affected. The rest of the trip goes by in somewhat uneasy silence. The Aston Martin DB5 weaves through the roads of London, passing through Uxbridge Road, High Street, the Colnbook Bypass and it starts going down Bath Street. Heathrow Airport soon comes into view, and Bond stops outside.

BOND

Well, we're here. See you then, Connie.

EXT. HEATHROW AIRPORT - NIGHT

The scene is more late evening than night, with a red sun slowly setting in the background. The Aston Martin DB5 pulls into view, stopping outside the main entrance. Connie opens the door and puts the briefcase outside. She suddenly turns around gives Bond a kiss. This surprises Bond, at the very least.

CONNIE

Hey, I said we had to get on with our lives, not break away.

(gets up)

Let's keep in touch.

BOND

(brightly)

Let's.

She picks up the briefcase and starts walking towards the airport entrance. Connie suddenly seems to remember something. She turns around and fishes the engagement ring out of her pocket, and tosses it to Bond.

CONNIE

Here, catch!

Bond uses his left hand to catch the ring. Connie waves back to James, and turns back to the crowd, slowly becoming less and less visible as she heads towards her new life in a new land, leaving Bond alone in his trusty DB5. He opens his hand, looks at the ring for a few moments and smiles to himself.

BOND

Quite a lady. Quite a lady.

As the DB5 starts up again, we see the sun slowly setting in the background, slowly shining less and less on the buildings of London. As it speeds on towards the ever-dimming horizon, we hear the end title theme swell to its opening chorus, and the last shot we see is that of the skyline of London at night, forever standing safe.

**FADE OUT.**


End file.
